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"The House of Glass " 

A Drama in Four Acts 

BY 

It 

and 



Duly copyrighted in 1916, 

in the United States of America, Dominion of Canada, 

Great Britain, Australia, New Zealand and South Africa, 

and by International Copyright 

by Max Marcin and George M. Cohan 




COHAN & HARRIS 

PROPRIETORS 






^ 



S^. 



APR 29 1916 



©CI.0 43806 



"The House of Glass 



^9 



ACT I. 

SCENE: A room in Mrs. Brandt's New York boarding house. 

At rise of curtain the stage is bare. After a few seconds Nellie 
enters, carrying a coiiple of bundles. 

NELUE 

(Goes over to table L. aytd starts counting the bundles scattered 
around the room . ) 

One, two, three, four, five, six, seven, eight, nine, ten, eleven, 
twelve, thirteen, fourteen, fifteen, sixteen. Gosh! I didn't think 
they was that many bundles in the world. 

^She sees a hat in box on chair R. C, takes it out , goes to dresser R. 
and tries it on. She sta?ids admiring herself in mirror as Margaret 
Case enters.) 

MARGARET 
{Enters from R., sees NelliE and laughs.) 
It looks very pretty. Nellie. 

NELLIE 
{Hurriedly removes the hat.) 
Oh, excuse me, Miss Case. 

MARGARET 

( Crosses to L.) 

That's all right, Nellie; I don'tblame you for liking pretty things. 
You're forgiven. 

NELLIE 
Thanks, Miss Case. 

MARGARET 

{Takes the hat from NelliE.) 

I'll take it. You run down and tell Mrs. Brandt I want to see 
her. 

NELLIE 
Yes, Miss Case. 
( Exists R. ) 



2 THE HOUSE OF GLASS 

MARGARET 
[Goes Z-., changing her waist to a kimona^ theii busying herself with 
the hmdles, singing light-heartedly during bzisiness.) 
{A knock comes on door R. ) 
Who is it? 

MRS. BRANDT 
{Enters from R. ) 
It's me, dearie. 

MARGARET 
Oh, come in, Mrs. Brandt. 

MRS. BRANDT 
{As she comes toward C. ) 
Nellie said you told her you wanted to see me. 

MARGARET 

( Over L. . ) 

Yes, I want to know if you'll have that trunk of mine brought up 
from the cellar. 

MRS. BRANDT 
(R. C.) 
A trunk? 

MARGARET 
Yes, you remember ; the trunk 1 had put down there when I first 
came here last August. 

MRS. BRANDT 
Oh, yes. 
{A slight patise.) 
You're not going away, dearie? 
( Crosses to bed over L . ) 

MARGARET 

{Busying herself around rooyn. ) 

Yes, tomorrow, and I've such a frightful lot of packing to do, I 
don't really know where to begin. 

MRS. BRANDT 
And why are you moving, dearie? Did somebodj^ say something 
to hurt your feelings or something? 



THE HOUSE OE GLASS 3 

MARGARET 

Oh no, Mrs. Brandt, it's nothing like that. Everyone has been 
more than kind to me in this house, and you especially. 
{Goes L. to Mrs. Brandt.) 
I'm really sorry to leave. 

MRS. BRANDT 
( Sits on foot of bed. ) 
But you must have some reason for going. 

MARGARET 
I have — the best reason in the world — but I can't tell you what it 
is because I've promised not to. 
{Crosses to C.) 

MRS. BRANDT 
And do you think that fair to me, dearie? 

MARGARET 
What? 

MRS. BRANDT 
Giving up your room without telling me why? What'll the other 
boarders think? They'll ask me why you moved, and what'll I say? 

MARGARET 
I'm not what you call "moving." I'm leaving the city. 

MRS. BRANDT 
You mean you're going away from New York? 

MARGARET 
Yes, I'm going way out West ; way off to San Francisco. 

MRS. BRANDT 
San Francisco ! Why have you got some folks out there ? 

MARGARET 
{R. C.) 

No, I don't know a soul in the town. 
{All during this she is bnsy opening bundles, etc.) 

MRS. BRANDT 
Well, there must be some attraction to take you so far away. 



4 THE HOUSE OF GLASS 

MARGARET 

{Laughs. ) 

Oh, there are attractions all right. I told you I had a very good 
reason for going. Now, don't ask me any more questions, Mrs. 
Brandt, because I really can't tell you anything about it. 

( Facetiously . ) 

It's a dark secret. 

( Chayighig tone. ) 

You will see about the trunk, won't you? 

MRS. BRANDT 
Oh, the trunk! Yes, yes, I forgot. 
{Goes to door R. and calls.) 
Nellie! 
. {Calls again, as she gets no reply.) 
Nellie ! 

NEIvLIE 
{From downstairs off R.) 
Yes, Mrs. Brandt. 

MRS. BRANDT 
Tell Frank to go down in the cellar and get that trunk that 
belongs to Miss Case. Tell him to fetch it up here to her room. Do 
you understand? 

NELLIE 
[Off stage R.) 
Miss Case's trunk? 

MRS. BRANDT 
Yes, up here to her room. Tell Frank. 

NELLIE 
( Off stage R.) 
All right. 

MRS. BRANDT 
{Closes the door and crosses toward L. ) 
They'll all be wondering why you're leaving. 

MARGARET 
( Comes downstage with money in her hand. ) 
Hold out your hand. 



THE HOUSE OF GLASS 5 

MRS. BRANDT 
Eh? 

MARGARET 
I'm going to give you something. 

MRS. BRANDT 

Me? 

MARGARET 

Yes. Come on, your hand. 

(Margaret counts bills into Mrs. Brandt's outstretched hand. 

Five, ten, fifteen, twenty. There! 

MRS. BRANDT 

( Wondering ly.) 

What's all this for, dearie? 

MARGARET 

That's for you. 

MRS. BRANDT 

(C) 

Why, you only owe me for one week, and that ain't due till 
Saturday. 

MARGARET 

(C.) 

But I want you to buy a little present for yourself ; something to 
remember me by when I'm gone. 

MRS. BRANDT 
Oh dearie, this is too much. 

MARGARET 

{Goes R. C.) 

Now you're convinced that I'm not leaving here because I'm in 
any way dissatisfied, aren't you? 

MRS. BRANDT 

{L. C.) 

But, dearie, how can you afford to do all this? 

MARGARET 
That's part of the dark secret I've promised not to divulge. 



6 THE HOUSE OF GLASS 

MRS. BRANDT 
Well, honest, dearie, I don't know what to say. 

MARGARET 
I'm glad you don't. I don't want to hear another word about it. 
( Looks around room . ) 

(Mrs. Brandt picks up a lace shawl from foot ot bed and stands 
examining it. ) 

( Margaret turns and sees her. ) 
That's real lace, Mrs. Brandt. 

MRS. BRANDT 
I thought so. A present from someone? 

MARGARET 
No, I bought it myself. Pretty, isn't it? 

MRS. BRANDT 
I should say so. 

MARGARET 
Oh, I have heaps of pretty things if I had the time to undo all the 
bundles and show them to you. 

( Goes L. , gets coat and puts it on. ) 

How do you like my little suit? 

( Turns arou?id for Mrs. Brandt's inspection. ) 

MRS. BRANDT 
It's very becoming, dearie. 

MARGARET 
Ready-made. I thought it would be rather nice to travel in. 
Fits well, doesn't it? 

MRS. BRANDT 
Perfect. 

MARGARET 

{Goes R., gets a box, takes it to bed and opens it.) 

Here's a little dress I bought yesterday. I'm just mad about it. 

Awfully good taste, don't you think? 

{Brings the dress down to R. of bed and holds it out for Mrs. 

Brandt to see. ) 



THE HOUSE OF GLASS 7 

MRS. BRANDT 
{Admiringly .) 

Beautiful! All those things must have cost you an awful lot of 
money, dearie. 

MARGARET 

{R. C.) 
All I had. 



MRS. BRANDT 



All you had ! 



MARGARET 

(C) 

Every penny. It took me years to save it and just two days to 
spend it. The twenty dollars I gave you was the last of my little 
fortune. I didn't do so bad, though. I saved over seven hundred 
dollars in less than three years, and that's pretty good for an eighteen 
dollar a week stenographer. Don't you think so? 

MRS. BRANDT 
{Crosses to C.) 

Margaret Case, do you mean to tell me that all the money you've 
saved you've spent in the last two days? 

MARGARET 
But money is a thing I'll never need again; don't you under- 
stand ? 

{Crosses toward C.) 

MRS. BRANDT 
(C) 
No, I don't understand. 

MARGARET 
{Laughs.^ 

Of course you don't, because that's part of my secret. Now don't 
try to guess, because you couldn't in a hundred years. 
( Comes downstage L. C.) 

MRS. BRANDT 
Well, of course, I don't know what it's all about, dearie, but I 
hope that wherever you go, or whatever you do, that you'll be happy. 
( lakes Margaret's hands. ) 



8 THE HOUSE OF GLASS 

MARGARET 

Thanks, Mrs. Brandt. 

( Warv Bell R. ) 

MRS. BRANDT 

{As she touches her lips to Margaret's hands she sees an 
engagement ring on her left hand. ) 
What's this, dearie, a diamond? 

MARGARET 
Yes; it's a beauty, isn't it? 

MRS. BRANDT 
I should say so. And did you huy this, too, dearie. 

MARGARET 
( Smiles. ) 
No, I won't tell you a story — that's a present. 

MRS. BRANDT 
A present? Well, well! A present, eh? 
{Holds Margaret's hand, admiring the ring.) 

MARGARET 
Yes. Now don't ask me, because I won't tell you. 

MRS. BRANDT 
Tell me what, dearie? 

MARGARET 
Who gave it to me. 

MRS. BRANDT 
I wasn't going to ask that. 

MARGARET 

Now, Mrs. Brandt! 

{Both laugh.) 

{Door-bell doivnstairs rings on business of laugh. ) 

MRS. BRANDT 
( Crosses to R.) 
There's someone at the front door. 



THE HOUSE OF GLASS 9 

MARGARET 
More packages for me, I dare say. I bought some things this 
morning. 

( Goes upstage C. ) 

MRS. BRANDT 
What time do 5'oit leave tomorrow, dearie? 

MARGARET 
On the 20th Century. We're going to stop over in Chicago for a 
few days before we start for the Coast. 

MRS. BRANDT 
Oh, then j'ou're not going alone? 

MARGARET 

What? 

MRS. BRANDT 
You said " we," so I suppose someone's going with you. 

MARGARET 

Oh, yes. 

( Cojifused. ) 

Yes, a friend of mine. 

MRS. BRANDT 

{Knowingly .) 

Oh, I see! 

{As knock comes on door R. ) 

Come in. 

{Knock R.) 

FRANK 
{Enters., dragging a trunk.) 
Did you say you wanted this trunk here in this room here? 

MRS. BRANDT 
Yes, bring it right in, Frank. 

FRANK 

{Drags the trunk in. ) 
Where '11 I put it? 



10 THE HOUSE OF GLASS 

MARGARET 

Leave it right there, rm going to send it to the station as soon 
as I've packed. 

CFrank places trunk down R. C. and unstraps it.) 

{Knock.) 

NELLIE 
{Knocks on door R.) 
( The door is open. ) 
Oh, Miss Case. 

MARGARET 
Yes, come in. 

NELLIE 
{Enters and stands inside door. ) 

MRS. BRANDT 
What do you want, Nellie? 

NELLIE 
There's someone downstairs to see Miss Case. 

MARGARET 
Some one to see me? 

NELLIE 
Yes, Mr. Burke. 

MRS. BRANDT 
Mr. Burke? 

MARGARET 
{7o Mrs. Brandt.) 

Yes, you remember; I introduced him to you on the steps the 
night before last. 

MRS. BRANDT 
Oh, you mean the young man that called for you in a taxi-cab? 

MARGARET 
He's the one. 

{Has taken money horn dresser^ and comes downstage and hands it 
to Frank.) 

Here j'ou are, Frank. 

{Hands money to Frank, then turns to Nkli^ie.) 

Tell him I'll be right down, Nellie, 



THE HOUSE OF GLASS 11 

NELLIE 
Yes, ma'am. 
{Exits R., followed by Frank.) 

MARGARET 
{Runs vp to mirror in dresser R., and starts arranging her hair. ) 
My, I look a sight! If I'd known I was going to have company 
I wouldn't have changed to this kimona. 

MRS. BRANDT 
Why do you bother about going downstairs, dearie? Why don't 
you have him come up here? 

MARGARET 
Oh, that wouldn't look very nice, would it? 

MRS. BRANDT 
( Over R. , near door. ) 
Why, he's a respectable young man, isn't he? 

MARGARET 
{L.) 
He surely is. 

MRS. BRANDT 
Then don't be silly. I'll tell Nellie to bring him up. 

MARGARET 
Do you think it will look all right? 

MRS. BRANDT 
Why, of course, dearie. The idea! 
{Goes to door R. and calls.) 
Nellie ! Nellie I 

NELLIE 
{Of/stage R.) 
Yes, Mrs. Brandt. 

MRS. BRANDT 
Show Mr. Burke upstairs here to Miss Case's room, do you 
understand? 

NELLIE 
Up to Miss Case's room? 



12 THE HOUSE OF GLASS 

MRS. BRANDT 
Yes. Show Mr. Burke right up. 

NELLIE 
All right. Yes ma'am. 

MRS. BRANDT 

{Closes the door and iuryis to Margaret.) 

Now, if I can help you pack these things I'd love to do it, 
dearie. 

MARGARET 

( Over L., changing her kiviona for a zvaist. ) 

You'll find the key in the top drawer, left hand side. 

{Poirjts to dresser R.) 

MRS. BRANDT 
{Opens drawer in dresser, finds the key, then comes down R.) 
Who is this Mr. Burke, dearie? One of your old friends, I 
suppose. 

( Unlocks the trunk. ) 

MARGARET 

iL.) 

Well, no, not exactly an old friend, but a very dear friend. 

MRS. BRANDT 
Oh, I see. I was going to say I don't remember of having seen 
him till you introduced him to me on the steps. In fact, I don't know 
as I remember of any young man ever calling on you before. I 
remarked that to Nellie right after you drove away in the taxi the 
other night. 

MARGARET 

{Comes to C.) 

That's strange. You know, I was wondering what you thought. 

MRS. BRANDT 
Were you really, dearie? 

MARGARET 

Honestly. 

( Knocks comes on door R. ) 



{Knock. ) 



Come in. 



THE HOUSE OF GLASS 13 

NELLIE 

{Enters from R. ) 

Here's Mr. Burke. 

(Burke enters, following Nellie.) 

MARGARET 
Oh, come right in, Jimmy. 

BURKE 
{Enters and stands below door, lookhig a bit embarrassed as he sees 
Mrs. Brandt.) 

MARGARET 

Klo Burke.) 

You've met Mrs. Brandt. 

MRS. BRANDT 
How do you do, Mr. Burke. 

BURKE 
{Smiles?) 

Oh, how do you do, Mrs. Brandt. I think I had the pleasure the 
other evening. 

{Crosses to C. Nellie exits R.) 

MRS. BRANDT 
{Smiles.) 
That's right. 

BURKE 

{As he goes up C, looking arotind the room.) 
Great Scott! What a busy young lady you are. 

MARGARET 

a.) 

Now no remarks about the room. I know it looks terrible, but 
don't remind me, please. 

MRS. BRANDT 

Well, I suppose Mr. Burke wants to talk to you privately, dearie, 
so I'll run downstairs. 

MARGARET 

{Crosses Burke to R.) 

Oh no, don't go, Mrs, Brandt. 



14 THE HOUSE OF GLASS 

BURKE 

(C. as Margaret crosses him, he ^ives her' a warning tap on the 
shoulder, intimating that he wants to be left alone with her. ) 
No, don't hurry away on my account, please. 

MRS. BRANDT 
Oh, I must go, really, I've got so much to do before dinner. 
( To Margaret. ) 

Now, if you think Nellie and I can help any with the packing, 
dearie, just call and we'll both come up. 

MARGARET 

WpC.) 

Thank you so much, Mrs. Brandt. 

MRS. BRANDT 
Thank you, dearie, for the present. Goodbye, Mr. Burke. 

BURKE 
Goodbye, Mrs. Brandt. 

MRS. BRANDT 
She's a fine girl, Mr. Burke. You're certainly not making any 
mistake; and from the looks of you, I don't think she is either. 

MARGARET 

What! 

(Burke and Margaret look at each other, astonished.) 
MRS. BRANDT 

( Itirns to door.) 

Oh, she didn't tell me anything — I guessed it. I can see it in 
your eyes — both of you. Oh, you can't fool me. 
{Exits R., laughing.) 

BURKE 
{Turns to Margaret, who comes down C. to hiin.) 
What's all that about? 

MARGARET 
I don't know. You heard what she said. 

BURKE 
You didn't tell her? 



THE HOUSE OF GI.ASS 15 

MARGARET 
{R. C.) 

Not a word. She drew her own conclusions, that's all. 
{Over to Burke.) 
Don't you believe me? 

BURKE 
You know 1 do. 

( lakes her in his arms and kisses her. ) 
You sweet kid. 

MARGARET 
Don't, Jimmy, please. 
{Moves away from him.) 
Some one might come in. 

BURKE 
Well, what of it? You belong to me, don't you? 

MARGARET 
Not yet. 

BURKE 
But you will in a few days. When you get on that train in 
Chicago next Saturday you'll be Mrs. James Burke. How does that 
sound, eh? Mrs. James Burke. 
( Kisses her. ) 

MARGARET 
Oh, Jimmy, I don't see why we can't be married here. Why do 
we have to wait until we get to Chicago? 

BURKE 
{L. C.) 

Now don't make me go over that again. I told you that on account 

of family reasons I don't want our marriage to become public right 

now. And that's just what will happen if we're married here in New 

York. Now don't be unreasonable, Margaret. I wouldn't ask you to 

wait if I didn't think it was for the best. Don't you suppose I'm as 

anxious as you are? 

MARGARET 

Of course. I'm just silly, that's all. There, I shant mention it 
again — cross my heart. 

{Siiits action to last words, then goes up to dresser, takes things trom 
it and comes down to trunk with them . ) 



16 THE HOUSE OF GLASS 

BURKE 

{Goes up C, ihe?i doivnstage L.) 

I suppose the old lady asked you a million questions about where 
you were going and why you were going, etcetera, and so on. 
{Down L. ) 

MARGARET 
{Brings hat down to trunk.) 

Yes, Lord, you should have heard her. And, my dear, you should 
have seen her face when she spied my engagement ring. 

BURKE 
( Over to her R. of trunk. ) 
Have you got it on? 

MARGARET 

{ Holds out her hand. ) 
Yes. See, here it is. 

BURKE 
You promised me you wouldn't wear that until we were married. 

MARGARET 

I know, Jimmy, but that's such a childish idea. Why shouldn't 
I wear my engagement ring when I'm engaged. 

BIJRKE 

(C) 

Because I asked yon not to. I told you I was superstitious about 
engagement rings, didn't I? 

MARGARET 

( Crosses to C. ) 

Oh, I know, but that's all so foolish. Now, what harm can 

BURKE 
{Interrupting her.) 

Margaret, you promised me you wouldn't wear it, and I want you 
to take it off. 

MARGARET 

{R. C.) 

Oh, VQ.\y well, have your own way. But honestly, Jimmy, I think 
such superstitions are perfectly absurd. 



THE HOUSE OF GLASS 17 



( Takes the ring from her finger. ) 
There, it's off. 

{Puts the ring in pocket of her blouse. ) 
I shant wear it again until we're married. 

BURKE 
Cross your heart? 
{She crosses her heart.) 
Now kiss me. 
{Throws his arms about her.) 

MARGARET 

{Draws axvay from him.) 
No, sir, not till we're married. 



BURKE 
MARGARET 

BURKE 



What! 

I'm superstitious. 

{Pulls her to him. ) 
Come here. 
( Kisses her. ) 

MARGARET 
Please, Jimmy, let me go. I've a week's work to do before these 
things are packed. 

[Draws away from him and goes ^ip to dresser.) 

Take that tray out of the trunk, Jimmy, and keep out of mischief. 

BURKE 
{Goes to ttunk and lifts top tray off.) 
Where shall I put it? 

MARGARET 
On the bed. 

BURKE 

{Puts the tray on the bed, then comes C. , looking about the room.) 
I'll bet you'll be mighty glad to get out of this dingy two by four, 
won't you? 



18 THE HOUSE OF GI.ASS 

MARGARET 

(^.9 she comes doztm to trtink ivith an armhd of clothes.) 
This isn't dingy, and don't you dare say anything of the kind. 
I've been very happy in this two by four, as you call it. You 
needn't come around here finding fault and showing off. You know 
you weren't always rich. 

BURKE 
No, that's right, a lot can happen in a short time. 
{Sits on table L.) 

Gee! Just think! Two weeks ago I was driving a car— a 
chauffeur — thirty a week. 

MARGARET 
And I was pounding a typewriter for eighteen, and we hadn't 
even met — hadn't even heard of each other. 

BURKE 
( As he goes toward C. ) 
It's a funny old world. 

MARGARET 
{Kneeling in front of trunk. ) 

Isn't it? You know, Jimmy, our affair is just like a story in a 
book. 

BURKE 

{Sits on edge of trtoik. ) 

That's right, it's a real romance. Poor boy — poor girl — meet — 
fall in love — uncle dies and leaves poor boy a hundred thousand 
dollars — boy and girl become engaged and start for the West to be 
married — and live happy ever after. It is like a story book, isn't it? 

MARGARET 
And just think, the whole thing's happened inside of two weeks. 
Isn't it wonderful? 

BURKE 
Wonderful ! 
( Takes her i?i his arms a7id kisses her. ) 

MARGARET 

{Breaks away from him, latighing.) 

Oh, get away from here, Jimmy, I'll never get my packing done, 

{Continues packing things i7i trunk.) 



T'HE HOUSE OF GLASS 19 

BURKE 

{Goes over L., stands watching Margaret a moment, then taking 
a jewel case from his pocket. He looks at it, the?i over at MARGARET, 
xvho is btisy at trunk. He replofes the case in his pocket before he speaks.^ 

Margaret. 

MARGARET 
What? 

BURKE 
Is that door locked? 
{Indicates R. door with a nod of his head. ) 

MARGARET 



No. 

Lock it, will yoit? 

Why? 



BURKE 
MARGARET 



BURKE 
I want to show you something. 

{Goes upstage and looks out of windo7v R., then comes dotvn stage to 
C.) 

MARGARET 

{Rises, goes R. and locks the door, then comes C.) 
What is it? 

BURKE 

( Opeiis the jewel case and ^hozvs if to her. ) 
What do you think of that? 

MARGARET 
Oh, Jimmy, that's gorgeous! Where on earth did you ever get 
such marvelous jewels? 

BURKE 
'Sh.' Not so loud. 
{R. C.) 

MARGARET 
{L. C.) 
What's the matter? 



20 THE HOUSE OF GLASS 

BURKE 

Nothing. It's all right, only don't talk so loud. I bought this 
at a real bargain from one of the biggest jewelers in town. He's 
afraid to handle it. There's over fifty thousand dollars' worth of 
stuff in that necklace. I got it for ten. I bought it for you. Isn't it 
a dream? 

(Margaret places it around her neck. As she starts to fasten the 
clasp, he takes it fro^n her.) 

Of course, it's got to be broken up before any of it's worn, on 
account of being smuggled in here. 

MARGARET 

Smuggled ! 

BURKE 
Yes; just one of the ways of avoiding duty at this port. It's 
nothing to worry about. It's perfectly legitimate — done every day. 
Some stuff there, eh, kid? 

MARGARET 
Hut smuggled! I don't like that idea, Jimmy. 

BURKE 

Well, don't blame me, I didn't smuggle them. Neither did the 
fellow that sold them to me. He isn't even sure they were smuggled, 
but he advises that in case of such a thing, it's just as well not to flash 
them in this setting, so just hide it away and when we're West a few 
days we'll have the stuff loosened and re-set. 

{As Margaret still looks unconvinced.) 

It's all right. You don't suppose I'd take a chance if I wasn't 
sure, do you? 

i^He hands her the necklace. She starts up tojvard the dresser 
with it.) 

Put it awaj'^ — in the trunk. 

( She comes down to trunk with it. ) 

( Burke gets lace shawl from foot of bed. ) 

Here, let's wrap it in this. 

MARGARET 
Wait, Jimmy, that's real lace. That cost a lot of money. 



THE HOUSE OF GLASS 21 

BURKE 

Well, it's ill good company. 

(As he wraps the case in the shazal.) 

Here you are — family jewels for your children when they grow up. 

{Ha?ids the case to her.) 

MARGARET 
Jimmy! 
{She puts the package in the trunk.) 

BURKE 
Here— in the trunk — way at the bottom. That's the idea. 
{He tries to kiss her. She dra7vs aivay laughingly.) 
{Kyiock cofnes 07i door R.) 

MARGARET 
{Busy packing.) 
Come in. 

BURKE 
{Has gone C. at knock.) 
The door's locked. 

MARGARET 
That's so. 
{Calls.) 

All right, just a minute. 
{Goes to door, imlocks it and opens it.) 

NEELIE 

{Enters from R.) 

There's two men down.stairs to see you, Miss Case. 

MARGARET 

Two men to see me? 

BURKE 
Who are thej^? 

NELIJE 

They didn't say what their names was. They said they was friends 
of Mr, Burke. 

(Margaret looks at Burke.) 



22 The house of glass 

BURKE 

Friends of mine? That's funnj'. 

MARGARET 
Shall we have them come up? 

BURKE 
No, no. 

( Nervously . ) 

I'll go down and see who they are. 

{Starts for door as Carrot.i. ajid CrowlEy e7ttef from R. ) 

CARROLL 

{As he enters from R. ) 

Don't trouble yourself, sweetheart. We came up to save you the 
trouble of coming down. 

{Comes to R. C, followed by Nellie. Crowley is R. of her.) 

(Carroll /m^w^ i'^ Nellie.) 

That's all, kid. Run downstairs and wash your face, and I'll kiss 
you good-bye as I'm going out. 

NELLIE 
Say, who do you think you're talking to? 

CARROLL 
( Inrns to CrowlEy. ) 
Say something sweet to the little child, Crowley. 

CROWLEY 
Get out of here before I murder you. 

( Takes her by the arm and shoves her out of room, then locks the door 
and puts the key in his pocket and comes downstage R.) 

CARROLL 

( Has gone upstage R. above trunk.) 

Hello, Burke, that was a damn good job you did at the Whitney 
home a week ago last Thursday. You must have hauled down about 
eighty or ninety thousand dollars, didn't you? 

{A pause of several seconds, while Burke looks at Carroll, and 
Margaret looks at Burke. Carroll stands staring at Burke.) 

MARGARET 

{After a pause.) 

Who are these men, Jimmy? 



THE HOUSE OF GIvASS 23 

BURKE 



{Dazed.) 

I don't know. 



MARGARET 



{Goes to Carroll.) 
What does this mean? 



CARROLL 

Now, now, nix on the melodramatic stuff. If you start to Leslie 
Carter yourself with me I'll have Crowley hiss you. Show her how 
you can hiss, Crowley. 

(Crowley /im^.f.) 

See, we're a hard audience. Can the acting. 

(Burke has turned fro>n Carroll duriyig this dialogue and is nozo 
reaching into his hip pocket for his gun.) 

Crowley, see what that guy's got on his hip. 

CROWLEY 

{Pulls his gun and levels it at Burke.) 
Get away from there. 
{Crosses to Burke over L.) 

BURKE 
{Draws gun slowly {rout his Pocket and hands it to CrowlEY.) 
I was only going to hand it to you. 

CROWLEY 

{As he takes the gun and puts it in his pocket.) 
Gee, you're polite. 

CARROLL 

See if he's got another one, Crowle}^ ; he's liable to take an 
encore. 

CROWLEY 
{Searches Burke's pockets. ) 
Clean as Childs' Restaurant. 

CARROLL 
Put the Houdini's on him. 
(Crowley handcutfs Burke.) 
See what kind of literature be carries. 

(Crowley searches Burke's pockets and finds transportation 
tickets. ) 



24 THE HOUSE OF GLASS 

MARGARET 

[Has been standing C. She noiv turns to Carroi^u. 
This is an outrage. I demand an explanation. 

CARROLL 

(Crowley t^ims to^vord her and hisses.) 

No, no; small town coppers might fall for that stuff, but it won't 
get you anything in the big cities. 

CROWLEY 
( Coming C. ) 

Transportation lo Chicago, and two lower berths on the 20th Cen- 
tury tomorrow. 

{Puts the tickets in his pockets.) 
( Warn patrol wagon bell. ) 

CARROLL 
20th Century, eh? He's a piker. A regular crook would have a 
special train if he made a haul like that guy. 

MARGARET 

{Makes a dash lor door R. and finds it locked) 

CROWLEY 

{As he sees Margaret running to door. ) 
Pipe the bust-away. 

MARGARET 
Who locked this door? 

CARROLL 
{To Margaret.) 
I don't know. 
( Turns to Crowley. ) 
Who locked that door? 

CROWLEY 
I don't know who locked that door? 

MARGARET 

{Crosses to R. <;/ BuRKE.) 

Jimmy, what does this all mean? Why don't you tell me what 
all means? 



THE HOUSE OF GLASS 25 

BURKE 
{Stands below L. table.) 

You can guess, can't you? They've got me, that's all. There's 
nothing I can saj' except that I'm sort}', not for myself, but for you. 
{Bo'ws his head while reading above lines.) 
( Patrol bell is heard off stage. ) 

MARGARET 

(As she fiears the patrol 7vagon bell she rushes up to the ivindow R., 
looks out, tui7is, comes dozcnstage a ferv steps, then, as a full realization of 
the thing comes to her, she thro7vs out her arms and falls in a dead faint 
up C. ) 

[As she falls Burke starts totvard her, but is stopped by CrowlEY. ) 

CROWLEY 

( Waves Burke back. ) 

Just a minute, just a minute. 

( To Margaret, as he stands L. of her. ) 

Come along now, kid — come on, cut out the comedj'. We can't 
stay here all day. 

{Kneels down and looks closely at her, then looks up at Carroll, 
who is R. of Margaret.) 

She acts to me like she's on the square. 

CARROLL 

Behave yourself. Take a peek around. 

(Cfowlev saunters around stage looking at thitigs and watching 
Burke.) 

( To Margaret. ) 

Come on, act like a regular and get up on your feet. That kind 
of stuff isn't going to get you anything with me. 

BURKE 

{Blurts Old.) 

For God's sake be human. Can't you see the girl has fainted? 

CARROLL 

{Kneels do7vn and looks closely at her. ) 

V>y God, you're right. I'm damned if she didn't fool me. I 
thought she was acting. 
{Rises.) 

CROWLEY 
I told j'^ou she was on the square. 



26 THE HOUSE OF GLASS 

CARROLL 

Call one of the women. 
(Crowley exits R,) 
(Burke kneels L. of Margaret. ) 
Who is this girl, Burke? 

BURKE 
Her name is Case. 

CARROLL 

I know that, but where is she from? 

BURKE 
You've [looked her up, haven't you. You must have been 
trailing us? 

CARROLL 

I can't find any record of her at headquarters. 

BURKE 
She's not a crook. 

CARROLL 
She travels with you. 

BURKE 
She didn't know I was a crook. 

CARROLL 
How long have you known her. 

BURKE 

{Rises.) 

Two weeks. I was going to marry this girl and go straight, so 
help me God, Carroll. 

CARROLL 

{R. C.) 

You could afford to go straight with the haul you made. It's the 
best house-breaking job that's been pulled in five years. We'd never 
got you if you hadn't blown your chauffeur's job the same day she 
blew her job and started to pal together and do the town. At that, we 
weren't sure till today. What'd you get, on the level? 

BURKE 
About seventy thousand. 



THE HOUSE OF GLASS 27 

CARROLL 
And about twenty thousand in cash. 

BURKE 
That's right. 

CARROLL 
Did you think you'd make it clean? 

BURKE 
Up to the minute you walked in that door. 

CARROLL 
We've had you for four days. I'm sorry, Burke. 
(Burke rises.) 

. BURKE 
{Comes down to R. at table L.) 

Oh, I don't care a damn now, but for God's sake don't hang 
anything on her. 

CARROLL 
Not""a chance, if she's on the level. If you make a clean slate 
I'll go the limit for her. 

BURKE 
Thanks. 

CROWLEY 
{Enters from R. carrying a flask of brandy. He is followed by a 
Policeman, who stands near door R.) 
{As he goes up stage C. ) 

The old dame fainted, too, when she saw those brass buttons. 
{As he and Carroll kneel beside Margaret. ) 
Can you beat that! There wasn't a drop of booze in the house. 

CARROLL 

Where 'd you get the flask? 

CROWLEY 

From the copper. Here we are. Take a drop of this ; it will do 
you good. 

{He and Carroll try to force some of the liquor down Margaret's 
mouth. After several unsuccessful efforts.) 

This is something worse than a faint, Carroll. Better get this 
girl to a hospital in a hurry. 

(Crowley and Carroll rise.) 



28 THE HOUSE OF GLASS 

CARROLL 
Tell Bailey to pull up at the Polyclinic on the way. 
{Turns to the Policeynan at R. door.) 
Mac, take her downstairs and put her in the wagon. 
(CARROI.L a?id Crowley lift Margaret into the Policeman's 
arms. The latter carries her off stage R. ) 
(After a Pause.) 
Come on, Burke. 

BURKE 
Are you going to be on the level with the girl? 

CARROLL 
If she's clean and doesn't try to cross me. I'll go thro' for her. 

BURKE 

{A slight pause.) 

There's a plant in that trunk. 

CARROLL 

{Looks at the trunk, then turns to CROWI.EV.) 

You take him and lock him up, Crowley. I'll stay here and keep 
an eye on this trunk. Send the wagon back in ten minutes to have it 
brought to headquarters, understand? 

CROWLEY 

I got you. Come on, Burke. 
{Exit R., following BuRKE.) 

CARROLL 

{Searches in the trunk and finds the jewel case. He opens it, takes 
out the necklace, and stands looking at it. ) 

Fifty thousand ! And there's a lot of poor g\iys dying for the 
want of a ham sandwich. 

{Patrol wagon bell heard off stage as curtain falls.) 

CURTAIN 



THE HOUSE OF GLASS 29 



'*The House of Glass" 

ACT II. 

SCENE: At rise of curtain the stage is bare. 

{Bell rings off stage left. ) 

(Watson, the bidler, enters from R., crosses stage and exits A.) 

(Harvey Lake enters at head of stairs and comes slowly down. As 
he gets to C. tcpstage, Watson enters fiom Z.., followed by McClellan 
and Atwood.) 

WATSON 

{As he enters.) 

The two gentlemen you said you expected, Mr. Lake. 

LAKE 
{Extending hand to Mac. ) 
Oh, how do you do, Mr. McClellan? 

McCLELLAN 

{Shakes hands with Lake.) 
How are you, Lake? 
{Introduces Atwood. ) 
Mr. Judson Atwood, Mr. Lake. 

LAKE 
{Crosses Mac to Atwood.) 
This is indeed an honor, Mr. Atwood. 
( The tzvo men shake hands. ) 

ATWOOD 
Mr. Lake, I've been very anxious to meet you, and am glad of 
this opportunity. 

LAKE 
{Smiles.) 

Won't you sit down? 
{Indicates chairs to both men.) 

ATWOOD 
Thank you. 

{Sits below table L. and a little to the left.) 
(McClellan sits R. of desk.) 



30 THE HOUSE OF GLASS 

LAKE 
Oh, Watson, let's have a little more light. 

WATSON 

Yes, sir. 

( Tu7'ns on lights.) 

LAKE 
{To Mac and At wood. ) 
How about a little cocktail before dinner? 

ATWOOD 
( Good- natvredly. ) 
I don't mind. 

McCLELLAN 
I'd be very glad to get it. 

LAKE 
Any preference? 

McCLELLAN 
Watson's cocktails are all right. 

LAKE 
Serve them in here, Watson. 

WATSON 
Very good, sir. 
{Exits R.) 

LAKE 

( To Atwood, as he sits abov^ his desk.) 

Mr. McClellan tells me you're on your way back East from the 
Coast. 

ATWOOD 

Yes. I fully intended to stop over on my way West, but my 
business out there was rather urgent, so I wired McClellan to come on 
and see you and that I'd join him on my way back. 

LAKE 
I see. 



THE HOUSE OF GLASS 31 

McCLELLAN 
[To Lake.) 

I've told Mr, Atwood about the several little talks we had on the 
subiect. 

ATWOOD 

{To Lake.) 

I understand you're not very keen about going to New York. 

LAKE 
New York? Oh, there's magic in the name; but of course, there's 
a great deal for me to consider before entertaining the proposition, Mr. 
Atwood. It isn't that I don't realize what a wonderful advancement 
it would mean to me to go over to the New York and Great Western, 
but there is a certain sentiment attached to xwy present position here 
with the Missouri Central. You see, I've sort of grown up with this 
railroad. I began as assistant freight agent when I was 19 years old. 
That's twenty years ago. 

McCLELLAN 
It wasn't much of a railroad then, was it? 

LAKE 
No. It isn't now. for that matter ; but what there is of it I helped 
to develop, and the directors have x^xy generously allowed me to 
advance along with it. 

ATWOOD 
How long hav^e you been general manager of this road? 

LAKE 
Five years. 

McCLELLAN 
It never paid a dividend up to then, did it? 

LAKE 
No; I'm proud to say that in my first year we paid our first 
dividend — two per cent, on the common. 

ATWOOD 

Yes, I know all that. You paid seven per cent, last year. I 
understand. 

LAKE 

Yes, sir, besides putting a million into improvements without 
increasing the bonded indebtedness a single dollar. 



32 THE HOUSE OF GLASS 

McCLELLAN 
Quite a record for a small railroad. 

LAKE 
Well, yes; but I had no idea that we were attracting any 
particular attention in the East. 

ATWOOD 

I'll be ver}' frank with you, Lake. It isn't the road itself that 
has attracted our attention. We have no idea of attempting to absorb 
the Missouri Central. The New York and Great W^estern is our only 
concern right now. Mr. McClellan, I presume, has told you that 
since Mr. Coleman's retirement, I have taken over the burden of the 
entire organization. 

McCLELLAN 

Yes, I explained all that. 

ATWOOD 

The responsibility is a bit too heavy to shoulder at m^^ age, and 
so we're after a man — a big man. The biggest railroad man in the 
United States is the man we want at the head of our system. That's 
why I came here to Kansas City to talk to you. 

LAKE 

(Modestly.) 

Well, I'm afraid you over-estimate my ability. What do you 
think, McClellan? 

McCLELLAN 
All I'm thinking about is that cocktail you promised me. Where 
does the butler get them from, St. Joe? 

LAKE 
{Lajighs. ) 

By Jove, he is a bit slow, isn't he? 
{Rises, j^oes upstage ajid touches buzzer in wall up C.) 

ATWOOD 

( Good -naturedly.) 

I've often told McClellan that if he'd give as much thought to law 
as he does to his toddies and cocktails, he'd probably turn out to be a 
fairly good attorney. 



THE HOUSE OF GLASS 33 

McCLELLAN 
I care not what my master says. 

LAKE 

{Latighs as he comes down to above desk. ) 

Well, I don't know; I read his brief in that Illinois rate case, and 
if I'm not mistaken, it came pretty near saving the life of every 
railroad in the country. 

(Watson enters from R. 7vith cocktails.) 

McCLELLAN 

{Bowing extravagantly. ) 

Thank you for them kind words, Mr. Lake. 

(Atwood and Lake laugh.) 

LAKE 
{As Watson places the tray of cocktails on the table.) 
Ah, here we are. 
(Watson stands above Lake.) 

There's one thing I will say for Watson, he does know how to 
mix cocktails. 



WATSON 



Thank you, sir. 
{Exits up R. C.) 



McCLELLAN 
( As he takes his cocktail. ) 

Here's hoping you accept Atwood's proposition and bring 
Watson back East with you. 

ATWOOD 

{As he takes cocktail from tray.) 
Yes, I'll drink to that myself. 

LAKE 

{Lifting his glass. ) 

Well, gentlemen, here's to the greatest railroad lawyer and to the 
President of the greatest railroad in America. 

ATWOOD 

And to you, Mr. Lake, the biggest man the railroad business has 
developed in the past twenty years. 



34 THE HOUSE OF GLASS 

McCLELLAN 
We're certainly fond of ourselves, aren't we? 
( The three laugh.) 

MRS. LAKE 
{Enters from upstage C.) 
{As she sees the men.) 
Oh, I beg your pardon. 
(The three men rise.) 

McCLELLAN 

{Rises, and bows.) 

How do you do, Mrs. Lake? 

MRS. LAKE 
(Smiles and bows.) 
Mr. McClellan. 

LAKEi 
May I present my wife, Mr. Atwood? 

ATWOOD 
{Bows.) 
A great pleasure, Mrs. Lake. 

MRS. LAKE 

The pleasure is mine, I assure you, Mr. Atwood. Harvey told 
me this morning that you were to dine with us this evening. 

( To Lake.) 

I must apologize for being so terribly late, dear. 

{To Atwood.) 

I'm helping to promote a bazaar for charitable purposes, and you 
know what women are when they get in a conference. 

(Ai,L laugh.) 

ATWOOD 

( Offers her his cocktail. ) 
May I ? 

MRS. LAKE 
No, thank you, I never indulge. 

McCLELLAN 

Mrs. Lake is at the head of a big movement here in the West for 
the uplift of the criminal, 



THE HOUSE OF GLASS 35 

ATWOOD 
Indeed ! A very worthy movement— a splendid work. 

LAKE. 
The only trouble is that uplifting gets to be a form of dissipation 
with some people; they become intoxicated with the idea. 

McCLELLAN 

Well, it takes more than an idea to get me intoxicated. I'm 
going to drink mine. 
{Lifts his glass.) 
Here's to Mrs. Lake. 

ATWOOD 

{Raisi?ig his glass. ) 

And to the uplift of the criminal. 

( The three men drink their cocktails.) 

MRS. LAKE 

If you gentlemen will excuse me just a few minutes I'll run 
upstairs and make myself a little more presentable for dinner. 
{Starts up C.) 

McCLELLAN 
Please don't dress. 

MRS. LAKE 

(As she goes up the stairs. ) 

Oh, I'm not going to, really. Harve}^ told me it was to be 
informal, otherwise I should have been home an hour ago. 
{Exits at head of stairs. ) 

ATWOOD 

(T^Lake.) 

A very delightful woman. 

LAKE 
Thank you. 

McCLELLAN 
Oh, she's sweet as a peach. I'm crazy about her. 



36 THE HOUSE OF GLASS 

LAKE 
So am I. 

( The three vien sit. ) 

She's been a wonderful little wife, Mr. Atwood. I owe a great 
deal to her. I call her my inspiration. Just makes me succeed in 
everything I undertake. I'm not altogether strong for this uplifting 
of the criminal proposition, but I wouldn't interfere with her for the 
world. 

McCLELLAN 

[To Atwood.) 

She offers an argument again.st iron bars that makes a man want 
to help tear down all the prisons in the country. She's got more real 
information on crime, and more angles on the correction of criminals, 
than the entire American police force, the gum shoe detectives, and 
the wardens all put together. I discussed the subject with her for an 
hour the other day, and before she quit, I give you my word of honor, 
she had me thinking there wasn't a crook in the country — if they'd 
give a crook the chance to prove it — that didn't deserve a seat in 
heaven, and that wasn't as good, if not better, than the best living 
minister of the gospel that ever breathed the breath of life. She had 
me going absolutely. Of course, when I got out in the open air and 
got back to my own line of thought, I felt entirely different about the 
matter, but for the time being I must admit that she had me convinced. 
She's some uplifter, believe me, that little lady is. 

LAKE 
Well, I hardly think it's worth while taking seriousl3^ They'll 
never get anywhere with the movement. A criminal is a criminal, and 
wrong-doing will never be suppressed through tolerating it. Unless 
crime is followed by some punishment, what is to become of society 
and law and order? 

ATWOOD 
But don't you really think that people are more and more inclined 
toward the doctrine of forgiveness. 

McCLELLAN 
We're getting nearer to it everyday. 

LAKE 
Well, toleration is prudence or timidit}' with most people. They 
probably have skeletons in their family closets to frighten them ; in 



THE HOUSE OF GLASS 37 

other words, they live in houses of glass. That's my way of figuring 
out men who look at crime from the sentimental standpoint. I've 
absolutely no patience with criminals of any class. 

MRS. LAKE 
{Has entered on stairs at the amclusion of the above speech, and now 
comes down the stairs. ) 

Harvey Lake, what was that I just heard you say? 
(Mac and Atwood rise as Mrs. Lake enters.) 
{After bowing — Atwood sits. ) 

LAKE 
{To Mrs. Lake.) 
Oh, we were just discussing the railroad situation. 

MRS. LAKE 
Now, don't fib. I distinctly heard you say that you had no 
patience with criminals of any class. Isn't that what he said, Mr. 
McClellan? 

McCLELLAN 
{R. C.) 

Yes; he was referring to the directors ot some of the Eastern 
roads. 

ATWOOD 

What ! 

(McClellan rtwa' Lake /az<:^//.) 

MRS. LAKE 
It was nothing of the kind. You were criticising me and mj' 
work, and I think it is verj- unkind of you to do such a thing. 

LAKE 
Well now, I'll leave it to Mr. Atwood. Didn't I pay her a 
beautiful compliment only a few minutes ago? 

ATWOOD 

He said he owed his entire success to you. 

McCLELLAN 
And that you were his inspiration. 

LAKE 

{Smiling. ) 
Now, you see! 



S8 THE HOUSE OF GLASS 

MRS. LAKE 

Oh, I've heard him poke fun at the idea of criminal uplifting be- 
fore, but just the same, we're getting results. 
(McClellan sits R. C.) 

ATWOOD 
That's splendid. I have always insisted that there are a great 
many victims of circumstances. 

MRS. LAKE 
( Crosses to C. ) 

Mr. McClellan can tell you my views on the subject. We went 
all over that the other day. 

McCLELLAN 
Yes ; I guess we covered the ground pretty thoroughly. 

MRS. LAKE 

{Goes up to R. of Lake — over.) 

You know I'm sure I would win this great big boy of mine if he'd 
only have the spunk to argue the question with me, but he won't even 
do that. I've threatened to scold him about it time and time again. 

( This is delivered good naturedly. ) 

LAKE 
Now listen, dear; I've invited these gentlemen here to dine with 
us, and not to listen to a sermon on " Why we should abolish prison 
rules?" 

MRS. LAKE 

{Sits R. of table.) 

There now, you hear? Isn't he perfectly horrid? He positively 
refuses to give employment to any man who has served a prison sen- 
tence. Now, I ask you, Mr. Atwood, do you think that is fair? The 
man has, at some time or other, failed to live within the law, but has 
paid his debt to society. He has served his sentence, and is repentant 
and anxious for a place in the world to live down the mistakes of his 
past. Don't you believe that it is only right that such a man should 
be given a chance and encouraged to go the straight road? 

LAKE 
But why give the preference over the man with the clean record? 
There are hundreds of honest men in search of employment. 



THE HOUSE OF GI.ASS 39 

MRS. IvAKE 
That's the only argument he ever advances. 

McCLELLAN 
Well, it's a pretty logical way of looking at it. 

MRS. LAKE 

(Crosses to L. of McCleli^an.) 

Is it? Well, it's an accepted fact that we've never sinned until 
we're found out ; just as we're never convicted until we're found guilty. 
So how are we to know that the man with the clean record, as Mr. 
Lake puts it, hasn't sinned to a far greater extent than the man who 
has served a term in prison? The only difference I can see is that one 
man has been found out and the other man hasn't. 

('Lake and McClellan laugh.) 

ATWOOD 

I don't see anything to laugh at. It all sounds reasonable enough 
to me. 

MRS. LAKE 
Thank you, Mr. Atwood. You appearto be the only friend Ihave 
here. 

(Sits R. of desk.) 

(Atwood rises and bows, then sits.) 

McCLELLAN 
(Rises.) 

Pardon me, Mrs. Lake. I was laughing at the clever way 3^ou 
have of winning all arguments on the subject, and not at your theory 

LAKE 
Well, I've managed to build up a wonderfully efficient organiza- 
tion by giving the benefit of the doubt to the man who hasn't been 
found out. Mr. Atwood seems to think so, at any rate, and he's the 
financial genius of the railroad business. 

ATWOOD 
You flatter me, Lake. 

LAKE 
{Smiles.) 
You flattered me a while ago. 



40 THE HOUSE OF GLASS 

McCLELLAN 
Yes, we were all fiattering one another, if I remember rightly. 

MRS. LAKE 

Well, for goodness sake, let's change the subject before I become 
wild with rage. 

(Rises and goes up to R. of Lake. ) 

Mr. Atwood, my husband tells me that you are trying to entice 
him away from our beautiful little home here and take him to that 
terrible old New York. 

ATWOOD 

That's exactly what we are endeavoring to do. Mrs. Lake, and we 
trust you will prevail on him to accept what is undoubtedly the oppor 
tunity of his life. 

MRS. LAKE 
(Smiles. ) 
•Oh, don't look for any assistance from me; I loathe New York, 

ATWOOD 

But think how much wider a field you will have for the work 
you've taken up, when you settle in the East. 

MRS. LAKE 
That's very thoughtful, but the work is being very well handled 
back there by extremely competent people. 

( War7i hell left. ) 

McCLELLAN 
Well, Atwood, it seems that we have a greater obstacle to over- 
come than we anticipated. 

MRS. LAKE 

( To McClell.'\n. ) 

You just ask Harvey to repeat that speech I made when he told 
me of the proposition you offered him the other daj-. 
( Goes upstage and Presses buzzer. ) 

McCLELLAN 
Well, don't blame me. I'm not in the railroad business — I'm a 
lawyer. 



THE HOUSE OF GLASS 41 

ATWOOD 

Oh, I don't know ; I've seen some lawyers who were capable of 
railroading a few things through the courts. How about it, Lake? 
(Watson e7iters from R.) 

LAKE 
{Laughs. ) 

Well, present company always suspected, of course. 
(All laugh.) 



WATSON 



( To Mrs. Lake.) 
Did you ring? 



MRS. LAKE 
How about dinner, Watson? What's the delay? 

McCLELLAN 

Yes, Watson, what's the delay? 

WATSON 

Be served in a very few minutes, ma'am. 
( Bell rings off L . ) 
(Watson crosses and exits L.) 

(Mrs. hKK-E goes to piano, sits on bench; McChV^hhA'S stands above 
piano, lookijig through music, etc.) 

LAKE 
( To At WOOD. ) 

You probably see now one of the reasons for my reluctance in 
leaving Kansas City. 

ATWOOD 

I don't believe Mrs. Lake fully realizes what a big thing the 
change would mean to your future career. 

LAKE 
Oh, well, it isn't altogether her attitude that stops me. Mr. 
Atwood. I'm sure that if it became necessary I could have her 
perfectly agreeable to the deal in five minutes' talk. As I said before, 
I have sentimental reasons for not wanting to leaVe the Missouri 
Central road. 



42 THE HOUSE OF GI.ASS 

ATWOOD 
Now let me show you this proposition in round figures. 
[Feels 171 coat for a piece of paper. ) 
Have you a pad about? 

IvAKE 
[Rises.) 

Come right up to my den; that is, if you don't mind a flight of 
stairs. 

[Starts up C, followed by Atwood.) 

ATWOOD 

[Following Lake.) 
Not at all. 

LAKE 
[To McClklLtAN, who is standing above piano, listening to Mrs. 
Lake playing. ) 

Want to see my den, McClellan? 

McCLELLAN 
Eh? 

[Turns to Lake.) 
No, thanks, I've seen it. 

LAKE 
Oh, that's so, I forgot. 

WATSON 
[Enters from upstage C.) 
Mr. Atwood's automobile at the door. 

ATWOOD 

Already? 

[Looks at his watch.) 

I told him seven -thirty. 

McCLELLAN 
[Looks at his watch.) 
It's only six-thirty. 
[Start for door upstage C. ) 
I'll tell him to be back in an hour, governor. 

ATWOOD 

No, let him wait; it's his own mistake. 



THE HOUSE OF GLASS 43 

McCLELLAN 
All right, let him wait. 
(Watson exits R.) 

IvAKE 
( To Atwood as they ascend stairs. ) 

Did you take your machine along all the way to the Coast, Mr. 
Atwood ? 

ATWOOD 
{Following I/AKE. ) 

Three of them. What's the good of a man owning control of a 
railroad if he can't have special trains and automobile cars? 

LAKE 
{Laughs.) 

Well, that's so, too. 
( They exit at head of stairs toward L. ) 

MRS. LAKE 

{Rises and goes to hot of stai?s as the 7nen exit.) 
I know what he's going to do up there; try to talk my hubby 
into accepting that horrid old position. 

McCLELLAN 
Well, you can't blame him for trying. He feels he's the one man 
in the country to take charge of the system, and Mr. Atwood is the 
sort of man that usually gets what he goes after. 

MRS. LAKE 

Well, for once the great financial genius of the railroad business 
is not going to get his wish. 

[Comes doivnstage to belotv couch R.) 

Harvey is not going to leave the Missouri Central if I can 
prevent it. 

McCLELLAN 
{Comes downstage L. of Mrs. Lake.) 

I can't understand why you don't like New York, Mrs. Lake. 
Have you spent much time there? 

MRS. LAKE 
Not during the last ten years. 
{Sits on R. side of couch.) 



I! 



44 THE HOUSE OF GI.ASS 

McCLEIvIvAN 
Kansas City your home town ? 

MRS. LAKE 
Oh, dear no. I came here the year before I was married. 
{Slight pause. ) • 

Seven years ago. 

McCLELLAN 
Oh, you met your husband here in town, then? 

MRS. LAKE 
Yes, indeed. Worked in his office. 

McCLELLAN 
What! 

MRS. LAKE 
Truly. 

McCLELLAN 
Doing what? 
{Sits L. of Mrs. Lake.) 

MRS. LAKE 
Stenographer. 

McCLELLAN 

No! 

{Laughs. ) 

MRS. LAKE 

Harvey was general passenger agent at that time. We'd only been 
married a year when his promotion came and he was given the man- 
agement of the road. We were very fortunate, weren't we? 

McCLELLAN 
I should say so. Stenographer, eh? 
{Smiles.) 
Well, well! A case of love at first sight, I suppose? 

MRS. LAKE 

Well, not quite that. I guess he took a second look; I know I 
did. 

{Both laugh.) 

We've been happy here. That's my real reason for not wanting 
to leave. 



THE HOUSE OF GLASS 45 

McCLEIvLAN 
I can appreciate that. Tell me, when did you first become so 
interested in this uplift movement? You've gone into the work rather 
deeply, haven't you? 

MRS. LAKE 
Yes, I've made quite a study of it, Mr. McClellan. I don't 
remember just what it was that first attracted me toward the work. I 
think perhaps it was a case I heard of a young girl who was convicted 
of a crime she did not commit. 

McCLELLAN 
Here in Kansas City? 

MRS. LAKE 
No, back in New York. She was sentenced to prison for three 
years — degraded — labeled a convict. At the end of a year and a half 
they rtflt-ased her on parole, but with the condition thai she report to 
the police once a month. She broke her parole — left the state, and went 
far away to forget. 

McCLELLAN 
And what became of her? 

MRS. LAKE 
No one knows. She just disappeared — just ran away and went 
into hiding. 

McCLELLAN 
What was the case? Who was the girl? 

MRS. LAKE 
I don't remember her name. 

McCLELLAN 
Oh, then you didn't know her personally? 

MRS. LAKE 
Why, no, I only know her story. 

McCLELLAN 
Then how do yon know this girl was innocent? 
{She looks at him as if not Jinderstanding the question.) 
I say, what proof have j^ou that the girl did not commit the crime 
for which she was convicted. 



46 THE HOUSE OF GI.ASS 

MRS. LAKE 
She had no proof of her innocence. 

McCLELIvAN 
And the circumstances pointed toward her guilt? 

MRS. LAKE 
Yes, she was found guilty on circumstantial evidence. 

McCIvEIvIvAN 

Well, I wouldn't put too much importance on stories of that kind, 
Mrs. Lake. I spent three years in the district attorney's office and I 
don't remember of any girl ever being sentenced without a fair and 
impartial trial. The State of New York doesn't make a business of 
sending innocent girls to prison. On the contrary, it's a mighty hard 
job to get a conviction against those who are guilty beyond a doubt. 
Of course, mistakes have been made. Circumstantial evidence has 
often led us wron.^, but ninety times out of a hundred it leads us abso- 
lutely right. 

(Mrs. Lake s?fs slar/ng before her.) 

What are you thinking of? 

{As she makes no reply.) 

I know you think I'm a hard-hearted old villain, don't you? 

MRS. LAKE 

{Forces a smile. ) 

No, I understand your legal point of view. 
(Watson enters S. and goes to table L. C.) 
At least I think I do. 

JAP 

{Enters from R., follo^ving Watson. ) 
Dinner is served, madam. 
{Exits R.) 

McCLELLAN 
{Rises quickly.) 
Good! I'm glad to hear that. 
{Goes to piayto and seats himself. ) 

MRS. LAKE 
{As she rises and crosses to C. ) 
Tell Mr. Lake, Watson. 



THE HOUSE OF GLASS 4^v 

WATSON 

{Bows and exits up the stairs. ) 

(McCleli,an sits at piano and hejs^ius a song- as Mrs. Lake strolls 
over to wiyidozv L. ) 

{As she looks out of zvindozv she apparently sees someone in the street, 
screams, and comes downstage to below table L.) 

(McClRLLAN jumps up from piano bench and goes to her quickly. ) 

McCLELLAN 

( Over to her quickly . ) 

Why, Mrs. Lake* what's wrong? 

{She makes no reply , staring wild-eyed into space, facing front.) 

What's wrong? Tell me? 

MRS. LAKE 
{As if unco?iscious of M.qQi.'E'L\,k^'s Presence.) 
My God ! 

{At this point. Lake and Atwood come hurriedly dozen the stairs, 
follozved by Edith and Watson.) 

(Watson remains upstage a moment, then exits R.) 

LAKE 
{^R. of Mrs. Lake.) 
What's happened? 

McCLELLAN 
Hysterical, I think. She screamed without any apparent reason, 
then started to sway, but suddenly steadied herself. 

LAKE 
Listen to me, dear, what was it? 

MRS. LAKE 
{I^oesnH reply, but forces a smile and breathlessly pantomimes the 
fact that she is recovering. ) 

ATWOOD 
{After assuring" himself that it is nothing serious,) 
Nerved, most likely. Too much excitement. 

\ McCX^ELLAN 

That's jusd: ahout^liat it ii>. 



48. THE HOUSE OF GLASS 

EDITH 
{Has been standing L. ^/ Mrs. Lake holding her hands from the 
time she entered from upstairs.^ 

Her hands are cold as ice, Mr. Lake. 

MRS. LAKE 
{^Slowly.) 
■ I'm all right. 
{Patises.^ 

I'm all right now, Harvey. 
{Forces a smile.) 

LAKE 
How did it happen, dear? What was it? 

MRS. LAKE 
All went black for a moment. I can't explain. I'd like to go to 
my room, dear. 

LAKE 
{To Maid.) 
You go with her, Edith. 

EDITH 
Yes, sir. 

MRS. LAKE 

{As she goes slozvly upstage C, supported by Edith and Lake.) 
I must apologize, Mr. McClellan. 

McCLELLAN 
Not at all. I'm so glad you've recovered so quickly. 

MRS. LAKE 
Mr. Atwood's right — too much excitement. 

ATWOOD 

{Following them upstage C.) 

The nerves will stand just so much, you know, and then — 

{Pantotnimes breaking a stick in two.) 

: LAKE 
I couldn't imagine what in the world had happened. ■' . _ ■ 



THE HOUSE OF GLASS 49 

MRS. LAKE 

( To Lake, standing on first step of stairs. ) 

I'm awfully sorry, dear. I fear I'll have to be excused from 
dinner. 

LAKE 
I think it's best, dear. Mr. Atwood and Mr. McClellan 
understand. 

McCLELLAN 
Why, of course, don't mind us. 

LAKE 

I'll see that she's made comfortable. 

( To Atwood and McClellan.) 

You'll excuse me. 

MRS. LAKE 

{ To Lake.) 

Don't trouble coming upstairs, dear. Dinner is served, and 
besides, I'm quite myself again. 

( To Edith, as Lake releases her.) 

I'm much stronger now, Edith. I'd much rather be left alone, 
thank j'ou just the^'same. 

( Turns to the men . ) 

I'll say good-night, Mr. McClellan— Mr. Atwood. 

ATWOOD 

Good night. 

McCLELLAN 
Good night. 

MRS. LAKE 
{Goes slowly up the stairs and exits toward L.) 
{The four people on stas[c hold the picture until she is out of sight, 
then all come downstage. ) 

(Edith comes downstage, straightens chairs L., then goes R. of 
piano and busies herself with scattered sheets of music, glasses, etc. ) 

LAKE 

( As he comes downstage C ) 

By George, that gave me a start. 

( Bell rings off L.) 

(Watson enters from R., leaving the door open, and exits upstage 



50 THE HOUSE OF GLASS 

McCLELLAN 
Came on her like that. 
{Snaps his ft7igers.) 

atwood; 

Nothing to worry about, Lake, she'll be right as rain in an hour. 

LAKE 
Well, I hope this excitement won't take away your appetites en- 
tirely. I think we deserve another cocktail to sort of brace up after 
that. 

McCLELLAN 
One of the best things you've said this evening. 

ATWOOD 

I don't, as a rule, take two cocktails before dinner, but on this 
occasion I'm afraid I'll have to be weak and keep you company. 

( These last three speeches are read while Lake is leadiyig the ivay 
into di?iing room R. ) 

{As soon as they are offstage, Edith folloivs them and closes the door, 
then goes to piano and picks up a cocktail glass as Watson enters.) 

WATSON 

{Enters from up L., comes to C, and calls to Edith.) 
Edith ! 

EDITH 
{Over C. to Watson.) 
Yes? 

WATSON 
Do you know any one of the name of Burke? 

EDITH 
Burke? 

( Slight pause. ) 
Yes, I know two or three families by the name of Burke. 

WATSON 
Well, this man drives Mr. Atwood's car. He says his name is 
Burke. He's at the front door and saj'^s he wants to see you. 

EDITH .... 

Wants to see me? 



f 



THE HOUSE OF GIvASS 51 

WATSON 

He said the maid. He asked for Miss Case at first. I told him 
that wasn't your name. He said it didn't make any difference, that he 
wanted to see you. 

EDITH 

That's funny. At the front door? Why don't he go 'round to 
the servant's entrance? 

WATSON 
I told him to, but he said he didn't like to leave his car. 

EDITH 
I don't believe I know him. 

WATSON 
Well, you better see what he wants, anyway. 
(Edith exits upstage L. ) 
(Watson takes tray of empty glasses from table L. and exits R.) 

m 

MRS. LAKE 
{Enters from upstairs C, comes dotvii and goes softly to door of din- 
ing room R. and listens, then goes over to zvindow and stands looking out 
until she hedrs Watson e?iteriti^ from R. , 7vhen she turns quickly away 
toward C. ) 

WATSON 
{Enters from R., goes above piano, picks iip the humidor and is about 
to exit when Mrs. Lake speaks.) 

MRS. LAKE 
Where is Edith ? 

WATSON 

{Comes irom behind pia7W and goes R . C. as Mrs. Lake speaks.) 
At the front door. Is there anything I can get for you, ma'am? 

MRS. LAKE 
No. 

WATSON 

You're feeling better, ma'am? 



52 THE HOUSE OF GLASS 

MRS. LAKE 
Yes, thank you. 
{As Watson sta7'is to exit R. ) 

Don't bother telling Mr. Lake that I'm downstairs, Watson. 
He'd probably ask me to join them at dinner, and I don't feel strong 
enough for that. I prefer to dine later in the evening, you under- 
stand ? 

WATSON 

Yes, ma'am. 
{Exits R.) 

MRS. LAKE 
{As Watson exits, she turns again to window.) 

EDITH 

{Enters from upstage L., and is about to ascend the stairs as Mrs. 
Lake calls, tvhen she comes doivnstage C.) 

MRS. LAKE 

{Calls to Edith, as the latter turiis to ascend the stairs.) 
Edith ! 

EDITH 
( Turns, sees Mrs. Lake, shozus surprise and comes dotvn C.) 
Oh, you startled me, Mrs. Lake. I thought you were upstairs. 

MRS. LAKE 
I've quite recovered. Tell me, who rang? 

EDITH 

Mr. Atwood's chauffeur. It seems someone told him that a 
young woman friend of his was employed in this house. He says the 
name is Case. 

MRS. LAKE 
Case? 

EDITH 
Margaret Case. I told him there had been no one of that name 
in my two years here, and he thought probably it might have been 
before I came. He wants to know if you would mind telling him if 
you ever did have such a person in service, and whether you would 
object to writing her present address on this card. He says he has 
some very important news for her. 



i 



THE HOUSE OF GLASS 53 

MRS. LAKE 

{Steadies herself.) 

Why, no, I don't remember of any such girl working here. 

EDITH 
I told him I didn't think so. He seems very anxious, and wanted 
to know if he could inquire of the other female servants in the house. 

MRS. LAKE 
The other female servants? 

EDITH 

{Smiles. ) 

Yes. I told him I was the only one, and then he asked to speak 
with you for a moment, and I explained that you were ill. 

MRS. LAKE 
(Points to card Edith has in her hand.) 
What's that? 

EDITH 
The card he gave me for the girl's address in case you knew 
where she was. He wrote his name on the back. 
(, Turns card over and reads. ) 
James Burke. 
{Hands card to Mrs, Lake.) 

MRS. LAKE 
{Takes the card and reads the name. She is no7v wider a ^reat 
strain, she thin/cs hard and /as/, and at the same time rei^ains her control. ) 
Why no, tell him I've never heard of such a woman. 

EDITH 

Yes, ma'am. 

(Starts for door npstajie A., tlien turns back to Mrs. Lake.) 

Oh, he asked as a special favor not to mention to Mr. Atwood 

that he bad the impertinence to make such an inquiry. He said it 

might cost him his position. 

MRS. LAKE 
Case? Case, did j-on say? 

EDITH 
Case ; yes, ma'am. 



54 THE HOUSE OF GI.ASS 

MRS. LAKE 
There was a girl who worked for me before you came. That may 
have been the name. I'll see him, anyhow. 

EDITH 
Very well, ma'am. 
( Exits upstage L . ) 

MRS. LAKE 
{As Edith exits, Mrs. Lake ^^^5 slowly over to R. C.) 
(Edith enters from 7cpstage L., tollowed by Burke.) 
(Burke and Mrs. Lake stand staring at each other without a 
word for several seconds. After a patise, with dignity and forced 
coldness. ) 

You wish to see me? 

BURKE 
{Standing L. <?/ Mrs. Lake.) 
Why, yes — please. 

MRS. LAKE 
You may go, Edith. 

EDITH 
Yes, ma'am. 
{Exits up the stairs C. ) 

MRS. LAKE 
{After Edith exits.) 

Now, Mr. - {Warn Ciirtain.) 

{Looks at card.) 
Burke, is it? 

BURKE 
{After a pause. ) 
Yes, Madam, James Burke is my name. 

MRS. LAKE 

{She is cool now, and has herself well in hand.) 

I see. Well, Mr. Burke, the maid told me of your inquiry. I 
did have a maid about two years ago whose name I've quite forgotten. 
Rather an elderly woman — she — 

BURKE 

No, Margaret Case is a woman not over twenty-eight. She was 
about nineteen when I knew her back East. 
{Continues staring at her.) 



THE HOUSE OF GLASS 55 

MRS. LAKE 
You say you were informed that this girl was in my employ? 

BURKE 

{After a slight pause.) 

No. I'll be truthful with you, Mrs. Lake. She's a girl I've been 
trying to find for five years. There isn't any part of this country, 
East or West, that I haven't searched for her. She's a girl I wronged, 
Mrs. Lake. God only knows what she suffered, and all through me. 
You will probably understand why I had the courage to ring that door 
bell when I tell you I could have sworn I saw her looking down from 
that window five minutes ago. 

'\Points to window L.) 

MRS. LAKE 
{Has never lost control of herself for a moment. ) 
That window, you say? 
{Asstcmes a7i intense interest.) 

BURKE 

{Eyeing her closely.) 

Yes, and I could have taken an oath that she ^aw me and 
recognized me, too. 

MRS. LAKE 
- That's strange. Why, I was looking out of that wiidow only a 
few minutes ago. Perhaps you saw me. 
( Crosses to R. of L. table. ) 

BURKE 

( Turns with her. ) 

I'm sure I did. 

{After a pause. ) 

Why did you scream, Mrs. Lake? 

( This — quietly . ) 

MRS. LAKE 
What ! 

BURKE 
When you saw me sitting in the car. 
{Pause.) 
I saw you turn away and I. thought liieard yau scream. 



56 THE HOUSE OF GLASS 

MRS. LAKE 
[Coldly.) 
Why, what do you mean? 

BURKE 
iShozvs embarrassment.) 

I beg your pardon. I guess I — I've made a mistake. 
{Stares at her.) 

MRS. LAKE 
[Coldly.) 
■ Mistake? What mistake? 
(Burke makes ?w reply, just stares at her.) 
Well? 

BURKE 
{Speaks sloiL'ly, but firmly, and zvithojit takmg his eyes from her 
face. ) 

Why did you break your parole? 

MRS. LAKE 
{Looks him in the eye 7vitliout moving a muscle.) 
What are you going to do? 
( This, after realising that he recognizes her.) 

BURKE 

Nothing; just warn you never to go back. They'll get you if 
you do. 

[She drops limply into chair R. of table.) 

I knew I'd find you some day — I felt it in my heart. When I 
saw you looking through that window I got the first thrill of happiness 
I've known since the day of the arrest. 

[Looks around the room.) 

You're happy, ain't you? 

[Warn bell L.) 

MRS. LAKE 
[Dazed, and without looking at him.) 
I was — up to five minutes ago. 

BURKE 
[After a slight pause.) 

You'll never see me again. I just wanted to find you in case — 
in hopes— well, I didn't know Gad. had been so good to you. He owes 



THE HOUSE OF GLASS 57 

it to you, though, after all he made j^ou suffer on my account. There's 
just one thing I've had in my mind since I came out five years ago, 
and that has been to find you and ask you to forgive me. 

{He shows in the reading of the above speech that this is the biggest 
thing in his life.) 

MRS. LAKE 
{Rises, and slou'ly crosses hint to R. C, then turns to him.) 
{After a long pause.) 
Can I help you in any way? 

BURKE 
Onlj^ b}' thinking kindly of me. Just make me one promise, and 
I'll leave here the happiest man on earth. Promise me you'll never 
set foot in the State of New York. Carroll told me the day of my 
release that he'd get you if it was the last act of his life— and he will, 
if you ever go back. 

MRS. LAKE 
I'm never going back. 

BURKE 

Goodbye, Margaret. 

{Extends his hand to her.) 

Margaret. 

MRS. LAKE 

( Takes his hand after a pause.) 

Goodbye , — Jimmy. 

BURKE 

Thanks. 

{Presses her hand, then turns and exits quickly upstaqc C A.) 

(Mrs. Lake stands laatching him as he exits, looking at the door 
for several seconds after he has disappeared. She filially itirns front, 
breathing hard and shoiving signs of the struggle through which she has 
Passed. ) 

{At this point the door bell rings.) 

{ She crosses to above desk L . ) 

(Watson enters from dininq, room R., crosses and exits up L. C. 
He re-enters after a lew seconds, carrying a telegram, and is about to 
exit R., when Mrs. Lake calls.) 

MRS. LAKE 
Who rang, Watson? 



58 THE HOUSE OF GLASS 

WATSON 
A messenger, Ma'am. Telegram for Mr. Lake. 

{He exits R. , leaving the door open. ) 

( The voices of the three men are heard offstage R. ) 

McCLELLAN 
Well, after that I'm going to drink mine. Here's to the new 
general manager of the New York and Great Western Railroad. 

ATWOOD 
And let me add that our only hope will be that you will 
accomplish, in a bigger way, of course, the same success with our 
system that you have with the Missouri Central during the past five 
years. Here's to Mr. Harvey Lake, general manager of the New 
York and Great Western Railroad. 

McCLELLAN 
Hear ! Hear ! 

LAKE 
That's very nice, gentlemen. 

MRS. LAKE 
{Has been standing above desk during above dialogue, and at the tag, 
falls in chair above desk.) 

CURTAIN 



%l 



THE HOUSE OF GLASS 59 



''The House of Glass'* 

ACT III. 

SCENE: Libfary m Lake's ho77te m New York. 

{At rise of curtain the stage is bare. ) 

( W/ien curtain is hill 7cp, telephone bell on desk down R. ri^igs.) 

{Phone rings R. ) 

JAP 

{Enters from upstage C, and comes down R. to phone.) 

Hello Yes No No, Mr. Lake not home yet. 

{Pauses.) 

Oh, in about ten minutes perhaps Tell him'what 

What? Hello, please, who is this? I can't understand the name 

Mr. What ? Mackerel ? Mr. Mackerel ? . . . . No ? . . . . 

Will you spell it, please? M-c 

MRS. LAKE 
{Has e7ttered at head of stairs C. as Jap goes to phone. ) 
{She news comes downstage to C. and interrupts.) 
Who is it? 

JAP 
{In phone as lie sees Mrs. Lake. ) 

Hello, just a minute, please. You hold the wire just a minute. 
{To Mrs. Lake, as he smothers the plione.) 

Someone want to speak to Mr. Lake. I can't undertand name. 
Mr. Mackerel, I think. 

MRS. LAKE 
Let me take it. 

( Takes receiver from Jap and seats herself at table. ) 
{ The Jap exits R. ) 

MRS. LAKE 
{In phone.) 

Hello, who is this, please? Oh, Mr. McClellan ! 

{Laughs.) 



60 THE HOUSE OF GLASS 

The Jap said Mr. Mackerel was on the wire. 

{Pause. ) 

No, not 3'et, but I expect him any minute now. . . .All right, I'll 
tell him you're coming over here, then, shall I?. . ..You mean about 
the Jackson boy?. . . .My dear Mr. McClellan, I've talked and talked 
to him. . . .No, he says the boy is guilty and deserves to be prosecuted 
. , . .I'd much rather you'd do it. He won't listen to me. . . .He was 
coming home early to-day to take me for a motor ride .... What? . . . . 
No, don't you do an^^thing of the kind. You come right over and see 
him. It's a great deal more necessary to save a poor devil from going 
to jail than it is that I go speeding through the park in a limousine 
. . . .All right, we'll be looking lor you. Goodbye. 

{Hangs up receiver.) 

LAKE 
{Enters from R. as Mrs. Lake says ''Good-bye.'" The Jap 
{ollo7vs him on and stands upstage R.) 

To whom is my wife saying good-bye? 

MRS. LAKE 

{Rises.) 

Oh, isn't it a shame I hung up? It was Mr. McClellan on the 
wire. He's coming over to see you right away. 

LAKE 

{Good-naturedly ., as he goes C.) 

Well, he's not going to see me right away. I've got the car 
downstairs and we're going to take a nice little trip in the country, and 
stop at Claremont for dinner on the way back; so come on now, put 
on your things. 

MRS. LAKE 
But, Harvey, I told him you'd surely see him. I imagine it's 
something very important he wants to talk to you about. 

LAKE 
The Jackson boy again, I suppose. 

MRS. LAKE 
I don't know. 

LAKE 
Ah, ah, now you do know. 



THE HOUSE OF GLASS 61 

MRS. LAKE 

Oh, Harvey, whj' are you so stubborn in the matter? I can't 
possibly see what good is going to come of sending a boy of twenty 
5^ears to the penitentiary. If you'll only stop to consider what — 

LAKE 

Well, there you go. 

{Crosses to L., taking off his coat, cap and gloves, and giving them 
to Jap, ivho is stayiding above sofa L.) 

There goes my outing that I've been looking forward to. The 
first chance in the two years that we've been in New York for you and 
I to spend an afternoon together, and you go and spoil the whole 
thing by making appointments over my head. 

(Mrs. LAKE^^^.y to L. of hitn.) 

And now I'm doomed to sit here in the house and listen to a plea 
for the liberation of a common thief. 

( Sits on conch L . ) 

MRS. LAKE 

{Pnts her hand on his shoulders pleadingly . ) 
Now, Harvey, please! 
{Sits R. t?/ Lake on conch.) 

LAKE 

All right, have it your own way. 

( To the Jap npstage L . ) 

Tell the driver not to wait ; to call me up at seven o'clock. 

JAP 

Yes, sir. 

{Exits up the stairs ivith Lake's hat and coat , then comes do7vnstdirs 
and exits through hallway through R. ) 

LAKE 

You know, dear, we went all over this Jackson matter the other 
night, and I thought I'd convinced you that it was an utter impossi- 
bility for me to back down from the stand I've taken in the case. 
The boy stole the company's money. I can't understand McClellan's 
attitude in this affair at all, unless you've urged him to plead for the 
boy. 



62 THE HOUSE OF GLASS 

MRS. LAKE 

You know better than that, Harvey. Mr. McClellan probably 
thinks the boy deserves another chance. Besides, you know very 
well that he isn't the sort of man who could be influenced by anything 
I might say in the matter, and I think you're perfectly horrid to 
intimate such a thing — now there ! 

{S/ie sfarfs upstage C. ) 

LAKE 

{Rises.) 

Where are you going? 

MRS. LAKE 

{Stops.) 

To my room. And you needn't speak to me for the rest of the 
evening. 

{Starts for stairs.) 

LAKE 

{Ster?ily.) 

Mrs. Harvey Lake! 

MRS. LAKE 
Well? 

LAKE 

{Points to place beside him.) 
Come here. 
{She makes no reply.) 
Come here ! 

MRS. LAKE 

{Comes dotvn slowly to him.) 
What do you want? 

LAKE 
{Smiles.) 
Kiss me. 

MRS. LAKE 
I won't. 

LAKE 

( 7 urns her around to him y coaxingly .) 
Please ! 



THE HOUSE OF GLASS 63 

MRS. LAKE 
Ob, you mean, horrid old thing. 
{Skc throii's herself into his arms and kisses him.) 
You know, Harvey, I thought for a moment you were really 
cross. 

LAKE 
{Laughs.^ 

Now I'll tell you what I'll do if you'll promise to stop talking 
about the Jackson boy. I'll tell you some good news. 

MRS. LAKE 
All right, I promise. 

LAKE 

Would j'ou like to hear some terribly good news? 

MRS. LAKE 
Yes. Is it about the Jackson boy? 

LAKE 
Now, you see? There you go again. 
( Turns from her and sits on do'wnstage side of couch.) 

MRS. LAKE 
{Sits on couch to R. of him. ) 

Oh, I didn't mean that, Harvey, honestly. Go on, tell me. 
What's the good news? What's it about? 

LAKE 
It's only about me, so I don't suppose it would interest you very 
much. 

MRS. LAKE 
Now, don't say such things, please. Go on and tell me; I'm 
just dying to know. What is it? 

LAKE 

Well, the directors of the road held their annual meeting to-day, 
and they voted me an increase in salary and an extra bonus of fifty 
thousand dollars. 

MRS. LAKE 
Harvey, isn't that wonderful ! 



64 THE HOUSE OF GLASS 

LAKE 
Yes. 

( Thinks. ) 

Success is always wonderful. 

MRS. LAKE 
That's because it brings happiness. 

LAKE 
And sometimes happiness brings success. You're my success ; 
you're my happiness. 
{Kisses her.) 

MRS. LAKE 
Oh, Harvey, Lm so proud of you. I'm so happy. 

LAKE 

{Looks at her closely.) 
Are you really? 

MRS. LAKE 
Why do you say that? 
{Rises.) 

LAKE 

I don't know; but I often wonder if you are really happy. We 
see so little of each other. 

MRS. LAKE 

{Smiles.) 

Oh, of course, dear, I am lonely at times, but I know what your 
work means to us both. Some day perhaps, when you've realized 
your ambitions, and we're rich enough for you to sit back and let this 
busy old world take care of itself, we can go back to our little home 
in the West and be together always, just as we used to be. 

LAKE 
I've worried a great deal during the past two years, dear. 

MRS. LAKE 
About what? 

LAKE 
You, and the change in you since we've been here. 

MRS. LAKE 
{Nervously.) 
Why, I'm not conscious of any change. 



THE HOUSE OF GLASS 65 

LAKE 

Oh, 3ou're different than when you were out there. You had so 
many friends ; so much to occupy you ; while here you refuse to meet 
people, to entertain, or be entertained. You seem to have lost interest 
in most everything. What is it? Why don't you tell me? 

MRS. LAKE 
Why, there's nothing to tell, dear. You know Lni not socially 
ambitious. Lni just interested in my home and you — that's all. 

LAKE 

i/^7ses. ) 

But what about this great uplift movement you were so 
enthusiastic about back home. 

MRS. LAKE 
Well, you really never approved of it. 

LAKE 
Of the thing itself, no. But the pleasure year found in doing it 
was a source of gratification to me. You know, dear, you're the most 
sacred' thing I possess, and I want you to be happy. 

{Warn Be//.) 



MRS. LAKE 

LAKE 
MRS. LAKE 



I am happy. 
Are you sure? 

(Goes to'a'ard C.) 

Sure. 

( Goes to be/ow desk C. ) 

LAKE 
^He icatc/ies li^r c/ose/y {or a moment, and t/ien moves to her, C .) 
But you were happier back home, weren't you? 
[Slie /ooks at him but does not rep/y . ) 
Tell me the truth. 

MRS. LAKE 
{After a pause.) 
Yes. 



66 THE HOUSE OF GLASS 

LAKE 
Why don't j-ou like New York? 

MRS. LAKE 
{Blurts Old.) 

Oh, I don't know. I'm afraid — I'm afraid! 
{She clings to him hysterically.) 

LAKE 
Afraid of what, dear. 

MRS. LAKE 

Of everyone here — of everything here. I'm afraid of New York. 

{At this point hell rings off R. ) 

(Mrs. Lake has taken stage on her last line. When the bell rings 
they both hold their positions, she looking toivard the door, and LAKE 
looking at her wondering ly. ) 

LAKE 
I don't understand what you mean, dear. 

MRS. LAKE 
Oh, I don't understand myself sometimes. It's nothing — I didn't 
mean what I said. 

LAKE 
Yes, you did. 
{Moves closer to her. ) 
Why haven't you told me this before? 

MRS. LAKE 
Please forgive me for what I've said, Harvey. I'm nervous, I'm 
just terribly nervous, that's all. 
( Exits up stairs C. ) 
(Lake stands buried in deep thojight.) 

JAP 
{Enters from R. after ten counts, and anttounces.) 
Mr. McClellan. 

McCLELLAN 
( 'Jo Jap as he enters from R . ) 
Good boy, you made it that time. 
{To Lake.) 

He called me Mackerel over the phone. 
( The Jap smiles and exits R. ) 



THE HOUSE OF GI.ASS 67 

LAKE 

( Without a smile. ) 

Hello, McClellan. 

McCLELLAN 

{Downstage C. to R. of Lake.) 

Hello! How do y oil do ! Greetings and hearty congratulations, 
and everything else that goes with it. Atwood just phoned me about 
the nice thing the directors did for you this afternoon. If there was 
any doubt about you making good with the New York and Great 
Western it's past. They confirmed your success with that little 
present they slipped you, old boy. I'm tickled to death. I bet the 
Misses is, too. Did j'ou tell her? 

LAKE 
{Goes up L. of table to above it.) 
Yes. It was a pretty nice thing for them to do. 

McCLELLAN 

{As he goes up to R. of table. ) 

Well, it was and it wasn't. Any time a railroad calls a board of 
directors' meeting, and that gang of highwaymen sit around a table 
and agree to part with a five cent nickel of the dividends, you can take 
it from me that the fellow that gets the aforesaid nickel is entitled to a 
dime. It's coming to you. You deserve it. You've earned it. And 
now that that's all over and you thoroughly understand how glad I 
am of your good fortune, we'll get down to cases and switch over to 
the subject I came here to see you about. 

( Gets chair oier R. and brings it to R. of Lake. ) 

LAKE 
{Sits above desk.) 
The Jackson boy. 

McCLELLAN 
Why, yes. 
{Sits.) 
For heaven's sake let up on that kid, will you? 

LAKE 
No, my mind is made up. I'm going to set an example with that 
young man. I've decided to prosecute, and that's all there is to it. 

McCLELLAN 
Now, see here, Lake, what's the good of sending this boy away? 



^68 THE HOUSE OF GLASS 

LAKE 
He stole the company's money, didn't he? 

McCLELLAN 
Oh, I know all that, but he'll make restitution. 

LAKE 
How? 

McCIvELLAN 
He has a lot of friends, and I'll lend him the money myself, if 
necessary. 

LAKE 
It isn't the money, Mac, you know that— it's the principle 
of the thing. It makes no difference how much influence is brought 
to bear. I'm going to stand pat on a prosecution. 

McCLELLAN 
You know there are a lot of innocent people being made to suffer 
in this case. 

LAKE 
Who, for instance? 

McCLELLAN 
' I, for instance — little me. That desk phone of mine never stops 
ringing from one end of the day to the othei. Between that kid's 
family and friends, and their friends' friends, they've made my life a 
burden hard to bear. Every time I leave the office there's a weeping 
sister in the hallway. When I get to the house there's a wailing 
mother holding down the steps. It's got so now thit I'm afraid to go 
home. All I dream about is crying uncles and screaming aunts. 
Pleasant, joyful little things to dream about, aren't they? 

LAKE 

I never knew it to fail. Where an honest man would look in 
vain for a friend, a rogue never fails to find a dozen. 

McCLELLAN 
Well, I honestly do feel sorry for this kid. Lake. You know it's 
his first offense. 



THE HOUSK OF GtASS 69 

LAKE 
And do you ask me to establish a precedent that all men in the 
employ of this road will be forgiven for the first offense. 

McCLELLAN 
Oh, of course I understand your position in the matter. But I'm 
sure I can get the district attorney's office to pigeon-hole the 
indictment if you'll agree not to press the charge. You know this is 
really a very exceptional case. 

I.AKK 

And that's the big reason I have for insisting upon a prosecution 
— because it is an exceptional case — -because influence from every 
angle is being brought to save him. I'm going to show the people 
under me that a thief has no place with the New York and Great 
Western, no matter how many friends he may have or no matter how 
many strings he ma^' pull. 

McCLELLAN 

I understand that all the employees of the road are signing a pe- 
tition to be brought before you. 

LAKE 
That will onl5' further my determination to see the thing through. 

McCLELLAN 

{Rises and places chair over R. C.) 

Well, then, I guess that's all there is to it. I've done all I can do. 

{Paces i(p and do7vnstage R. ) 

LAKE 
{After a pause. ) 
Where does all this influence come from? 

McCLELLAN 
How do I know? 

LAKE . 

Well, who got to you? 

McCLELLAN 
Nobody can get to me. 

LAKE 
Don't misunderstand me, Mac. I mean, who asked you to go to 
.the front for the boy. Now, come on, tell me the facts. Who's back 
of the bov? There is some one — some one big, isn't there? 



70 THE HOUSE OF GLASS 

McCLELLAN 

{After a pause.) 
Well yes, there is. 

LAKE 
Who is it? 

McCLELLAN 

That would be a breach of confidence. 

LAKE 
Never a word of it from me. You can trust me — on my honor. 

McCLELLAN 
I probably shouldn't do this, but at that I think you ought to 
know. But remember, you've given me your word. 

LAKE 
Absolutel5\ 

McCLELLAN 
The man behind the Jackson boy is his Excellency, the Governor 
of the State. 

LAKE 

{Slight pause. ) 

Governor Patterson ! 

McCLELLAN 

He's the gentleman stretching the wires. Of course, he doesn't 
want to be known personally in this matter, and that's the reason none 
of his lieutenants have got to you. But he did send for Atwood, and 
I'm pretty sure he got to some of the other directors of the road. 
Atwood immediately sent for me and instructed me to advise you to 
let the boy down eas)\ Of course, they don't want to go over your 
head and put it to you cold, but I'll tip you, old boy, that during the 
next forty -eight hours you're going to be called before the directors 
and told to drop the case entirely. 

LAKE 

That is something that I will positively refuse to do. 

{Rises and goes down L. C.) 

When I came here it was with the thorough understanding that I 
have full control of the employees of this road, and that no other man 
or men connected with the system could go over my head or vote down 
any of my ideas of management. 



THE HOUSE OF GLASS 71 

McCLELLAN 

{Comes down belotv table to R. of Lake.) 

I know all that; didn't I draw up the agreement? They know 
exactly how you feel about the case, and they also know the stand 
you'll take when the show-down comes. They're all scared to death ; 
can't you see it? That's one of the reasons for the big donation this 
afternoon. They want to have you feel good and make you like you're 
job, and get you in a good humor before they put the thing up to you. 

LAKE 
You mean that the $hO,000 bonus voted to nie this afternoon is 
nothing more than a bribe? 

McCLELLAN 
Well, you can call it anything you like, but Ld say it was proof 
conclusive that you've made so good at the head of the road that 
they're worried sick for fear they're going to lose you. You see, it 
isn't a matter of their going over your head, it's just a matter of their 
asking you not to go over theirs. They can't very well refuse to do 
this thing; they might have to ask a favor themselves before the year 
is out. I mean up in Albany. Do you get me? 

LAKE 

{After a slight pause.) 
I think so. 

McCLELLAN 
Well, come on, let's drop the case and that will be the end of it. 
What do you say? 

LAKE 

{Crossess lo2vly to R.C.Jhen, after a pause, lie turns to McClELLAN. ) 
I say no. The railroad will prosecute this case or get a new man 
to manage its affairs. 

McCLELLAN 
Well, of course, that's up to you. 
( Goes over L . ) 

LAKE 
{Stands thinking.) 
This will probably be a good excuse for getting out. 

McCLELLAN 
Why, you weren't thinking of getting out, were you? 



72 THE HOUSE OF GLASS 

LAKE 
( Ttirns partly and looks upstage C. ) 
\^es I'm thinking seriously of going back. 

McCLELLAN 

Back to Kansas Citj- ! Good (iod ! How can a man think of such 
a thing. 

( Over to L. of Lake. ) 

New York's the place for you — the place for all big men. Look 
what you've accomplished in the two years you've been here. Why 
I'll bet that in another two years you'll be 

LAKE 
{ Inter ruptijig.) 

I'm not thinking of myself Mac; she isn't happy here. 
( Points upstage C. ) 

( Warn bell . ^ 

McCLELLAN 
The Missus? 

LAKE 
Yes. 

McCLELLAN 
Oh, I think you imagine that. 

LAKE 
No, I'm sure. That's why I'm going back. 

McCLELLAN 
When did you make up your mind to this? 

LAKE 
Jiist a few minutes ago — before you came. 

McCLELLAN 
You've really decided to go? 

LAKE 
I think so. 

McCLELLAN 
Well, it's hard to believe, but if it's so, I'm damned sorry. I'm 
afraid it's going to make a big difference in your career. 



THE HOUSE OF GLASS 73 

LAKE 
Perhaps. But if it makes her happy, what's the difference? 

McCLELLAN 
You know, it I were a girl I'd give you a kiss for that speech. 
That's the nicest thing I ever heard a man say about a woman. 

LAKE 
That's the way I feel about it. 
Door hell rhi^s off R. ) 

McCLELLAN 

{Siaris up R .) 

More visitors. Well, I'xe got to run along and report. It will be 
a body blow when I tell them you. refuse to drop the charge against 
the hoy. Heaven only knows what they'll say when they find you've 
decided to give up the management of the road. I'm mighty thankful 
I'm not delegated to tell them that one. 

{Gets up to door R., then comes doioi R. on ?iext line.) 

Remember that was entre nous about the Governor being interested 
in this case. 

LAKE 
{L. C.) 
I understand. 

McCLELLAN 

{R. of L.\KK /;/ front of table.) 

And if you should change your mind and decide to stay here I'll 
be tickled to death. You know that, don't you? 

LAKE 
I know how you feel about it, Mac. I'm verv proud of your 
friendship. 

{Extends his hand to McClELLAN. They shake hands heattily.) 
(McClei.LAN starts for door as Jap enters.) 

JAP 

{Enters from R. and annonnces.) 

Mr. Atwood. 

{Exits R. as Atwood cotnes downstage.) 

McCLELLAN 
( la Atwood. ) 
That's funny ; 1 was just going to the Club to see you. 



74 THE HOUSE OF GLASS 

ATWOOD 

( To McClellan, as he crosses him dow?i to Lake.) 
I thought I'd catch you here. 
( 71? Lake, as he shakes hands with hitn. ) 

Congratulations, my boy. That was a fine compliment the 
directors paid you to-daj'. 

LAKE 

(C) 

I appreciate it, Mr. Atwood. It was very generous, very 
encouraging. 

ATWOOD 

Ah, you should have heard them. I never listened to so many 
complimentary things said about a man in all my life. You're a 
fixture with the road; we all agreed to that this afternoon. 

{Turns to McClellan, who is up R.) 

Tell him what I said to you over the phone, McClellan. 

McCLELLAN 
Tell him yourself, it'll sound just as well. I'll see you over to 
the Club. 

(Starts upstage R.) 

ATWOOD 

{To McClellan.) 

Wait a moment, I'll be right with you. 
( To Lake.) 

Where's the little lady? I must pay my respects and congratulate 
her also. That's what drove me in here. 

LAKE 
Just a second, I'll see if she's dressed. 
( Starts upstage C. ) 

McCLELLAN 
{Impatiently. ) 
Oh, don't bother, Lake. 
( To Atwood. ) 

See here, Atwood, these people have an appointment with them- 
selves. We're keeping them from a motor ride. 

ATWOOD 
Oh, I'm sorry. Then we'll go along. 



i 



THE HOUSE OF GLASS 75 

LAKE 

No, please don't. Mrs. Lake doesn't know either of you' are 
here. She'll be vexed if yon run away without saying hello. Please 
wait ; I'll go and fetch her. 

( Exit upstairs C. ) 

ATWOOD 

{Comes downstage L. to in front of table.) 
Well, yes or no? 

McCLELLAN 
{Comes doumstage R. of table.) 
No. 

ATWOOD 
That's his final decision. 

McCLELLAN 
So he says. 

ATWOOD 
But he must realize that influence is being brought to bear. 

McCLELLAN 
That doesn't make any difference to him. 

ATWOOD 

( Goes to couch L. and sits. ) 

I'm afraid it will mean his position. 

McCLELLAN 
That won't make any difference either. He's going through 
with the thing for the purpose of finding out just where he stands. 
He feels that he is being interfered with. Heaven and earth can't 
change him, I'm sure of it. 

ATWOOD 

You mean he'd give up his future with the road rather than 
withdraw the charge. 

McCLELLAN 
That's my opinion. 



76 THE HOUSE OF GLASS 

ATWOOD 

(Rises, and paces up and downstage R.) 

Oh, there must be some way to settle this thing. We can't afford 
to lose a man like Lake. Why don't you talk to him? 

McCLELLAN 
Talk to him! Great Scott! I've talked myself black and blue. 
It's no use, I tell you. You know it's no easy matter convincing a 
man he's wrong when you know and he knows that he's absolutely 
right. The Jackson boy was indicted by the grand jury and goes to 
trial the day after tomorrow, so you'd better make up your mind what 
to do. You've got to offend the men higher up by allowing Lake to 
have his own way, or else go over his head and refuse to allow him to 
press the charge as a representative of the railroad. It's one thing o^ 
the other, so you'd better decide in a hurry. 

ATWOOD 

You know that's Lake's one great fault: he's so damned set in 
his opinions. 

McCLELLAN 

You knew that before he came East. 

(Sits in chair R. afid flips pages of a magazine he has picked up 
from the table. ) 

ATWOOD 

[Comes to L. of table.) 
Why hound this boy? 

McCLELLAN 

You can't blame a man for not wanting a thief around him. I 
notice you got rid of that driver of yours when you found out he wasn't 
all he represented himself to be. 

ATWOOD 

{Sits on edge of table facing front. ) 
You mean that fellow Burke? 

McCLELLAN 
Yes, the chauffeur. 

ATWOOD 

A different kind of case entirely. The man had a prison record. 
They showed it to me at Headquarters. That's why I dismissed him. 



THE HOUSE OF GLASS 77 

McCLELLAN 

(Laughs.) 

Well, there you are! Why hound the man? 

ATWOOD 
Please don't try to be flippant. 
{Rises up toward window L ) 
This is no time for that. 

McCLELLAN 
Well, it's a poor rule that doesn't work both ways. 

ATWOOD 
Rats! 

McCLELLAN 

Are you going to talk to him yourself about this thing? 

ATWOOD 

( Comes downstage L.) 

Do you think it will do any good ? 

McCIvELLAN 

r don't know ; you might take a try at it. 

ATWOOD 

All right, 1 will. 

LAKE 
{Enters from C, with his arm around Mrs. Lake.) 
Here we are. Here's the little lady. 

ATWOOD 

( Goes to her, extending his hands. ) 

Well, well, how do you do, little stranger? 

MRS. LAKE 
[Smiles as she takes his hands.) 
Mr. Atwood. 

ATWOOD 
My, but you do hide away. I haven't seen you in ages. 

MRS. LAKE 

( Smiles and crosses to R. C , to McClellan.) 
Mr. McClellan. 
{Extends her hand.) 



78 THE HOUSE OF GLASS 

McCLELLAN 

(As he takes her hand. ) 

Well, how is the little hermit to-da^'? 

MRS. LAKE 
Quite well, thank 5'ou. 

ATWOOD 

( To Lake.) 

Have you told the good news? 

LAKE 
{Above desk.) 
Yes, she knows. 

MRS. LAKE 
{Goes up to R. of Lake above desk.) 

Oh, it's wonderful, Mr. Atwood. It's so splendid that Harvey 
has been so successful in the management of the road. I'm terribly 
proud of him; and we're both very thankful for all the directors have 
done. 

ATWOOD 

He deserves it; ten times as much. 

McCLELLAN 
That's a pretty little speech ; but it doesn't go if you try to get it, 
Lake. 

(All laugh.) 

LAKE 
( Laughing. ) 
I understand that. 

ATWOOD 
I wish you were as funny as you think you are, McClellan ; I 
might get a free laugh once in a while. 

McCLELLAN 
If I were funny enough to get a laugh out of you I'd charge 
admission. 

ATWOOD 

{Laughs.) 

That's the funniest thing you've said in a year. 

(All laugh.) 

(Atwood and Lakk^o upstage L.) 



THE HOUSE OF GLASS 79 

McCLELLAN 
'lo Mrs. Lake, as they stroll over R. C) 
I'm afraid we've cheated you out of your automobile ride. 

MRS. LAKE 
Oh, I wasn't a bit anxious to go, really. 

Aside. ) 
Any better luck about the Jackson boy? 

McCLELLAN 

Aside. ) 
No ; he seems more determined than ever. 

MRS. LAKE 
What a pity. 

McCLELLAN 

( 7o Lake and Atwood. ) 

Well, these two men want to talk, so I'll get along. 

LAKE 
What's your hurry, Mac? 

McCLELLAN 
{Looks at his 7vatch.) 

Oh, I'm going over to the club. I'll meet you there in half an 
hour, Atwood. 

( Goes to door R.) 

ATWOOD 
Wh)- don't you wait and I'll drive you over. 

McCLELLAN 
Well, I thought maybe you fellows wanted to get together. Be- 
sides, I haven't had a cocktail to-da}'. 
{All laugh.) 

MRS. LAKE 
Then you come with me, and I'll mix one for you mysell. 
( Crosses to7vard L. ) 

McCLELLAN 
Really? 

MRS. LAKE 
Honestly. 
(McClellan follows Mrs. Lake over L.) 



80 THE HOUSE OF GLASS 

LAKE 
[Laughs.) 
That's right, Mac; Watson taught her before we came East. 

McCLELLAN 
You mean that butler you had in Kansas Cityi* 

MRS. LAKE 
He's the one. 

McCLELLAN 
Lead me to the bar. 

MRS. LAKE 
( Turns to At WOOD.) 
Can I entice 5'ou, Mr. Atwood? 

ATWOOD 

{As he crosses Hpstagc and comes dozen to R. of phone desk R. and 
seats himself. ) 

No, thanks; I'm not celebrating to-day. 

McCLELLAN 

He said something. Any time that gentleman takes a drink it's 
a real celebration. 

(Exits, preceded by Mrs. Lakk.) 
[Exit L.) 

LAKE 
{Laughs as he comes downstage to L. of phone desk. ) 
He has a lot of fun with you, Mr. Atwood. 
(.5//.^ A. of Atwood, above desk.) 

ATWOOD 

{Laughs. ) 

Yes. and he's great fun for me. I don't know what I'd do with- 
out him, Lake. He's a great big man. In his oflFice he's a linn in his 
den. After business hours, he's a boy at play. 

LAKE 
Big men are like that as a rule. 

{BeU R.) 

ATWOOD 
Yes, I think so. 

{Pauses, changing to seriousness.) 
I want to talk to you about this Jackson case. Lake. 



I 



I 



I 



THE HOUSE OF GLASS 81 

LAKE 
I'll turn a lion if you do. 

ATWOOD 
The great trouble is. you don't understand the situation. This 
boy comes from one of the oldest families in town. We put him in the 
office to learn the business, that's all. 

LAKE 

Now, Mr. Atvvood, I want to settle this matter for once and for all. 
If the President of the United States came to me to intercede for this 
boy, my answer would still be "no." A thief has no business place 
in the world— that's my platform. 

{Slams drazver of table shut, rises and ^oes C. delozc desk.) 

JAP 
{Enters from R., with card on fray.) 

LAKE 
(7"^ Jap.) 
Some one to see me? 

JAP 

Yes, sir. 

{Goes to Lake and extends tray.) 

LAKE 
( Takes the card and reads. ) 
"David H. Carroll, Police Headquarters." 
( Thinks, trying to recall the name. ) 
Carroll. 

ATWOOD 
He's the man that made the arrest in the Jackson case, don't you 
remember? 

LAKE 
Why, yes, that's so. 
( To the Jap.) 
Show him in. 

JAP 

{Bows, exits R. , leaving door open.) 



82 ^ ;THE HOUSE OF GLASS 

ATWOOD 

Well, I suppose that j^ou want to talk to him privately. 

LAKE 
No, I hardly think so. I don't imagine it's anything of great 
importance. 

(Atwood resumes his seal R. of phone desk ) 
(Lakr goes above desk C.) 

CARROLL 

{Enters from R., follozved by Jap, ivho closes the door, then exits 
upstage C.y towards R., in ha/ /way.) 
(CA-RROhL goes C. to Lake.) 
How do yon do, Mr. Lake. 

LAKE 
How are you, Carroll. 

ATWOOD 
Hello, Carroll. 

CARROLL 

( Turns toward Atwood. ) 

Oh, how do you do, Mr. Atwood. 

( Turns to Lake.) 

CARROLL 

I want to apologize for coming to your house, Mr. Lake. I tried 
to get you at the office but they said you'd gone. I'd have got you on 
the phone, but I don't trust the operators with anything that sounds 
like a newspaper story, so I took a chance and came here myself. 

LAKE 
That's all right, Carroll. Sit down. 

CARROLL 
{Sits R. C.) 
Thank you. 

ATWOOD 
{Rises and goes upstage C.) 
Now I know it's private, so I'll go. 
{As he gets up to R. of Lake. ) 
I'll see you at your office in the morning, Lake. 



THE HOUSE OF GLASS 83 

LAKE 
All right. 

ATWOOD 

{Starts for R. door, the^i turns.) 

Oh, I wonder if that attorney of mine has finished his cocktail yet. 

LAKE 
{Laughs.) 
I'll see. 

ATWOOD 

Oh, how have you been, Carroll? 

CARROLL 
Very well, thank you. 

LAKE 

{Goes to door R,, opens it and calls.) 
Oh, Mac! McClellan! 

{As 'Lak-e. goes L., Atwood stands scowling at Carroll.) 
{He strolls upstage, turns and stands gla?i?2g at Carroll until 
McClellan enters.) 

McCLELLAN 
{Offstage L.) 
Hello ! 

LAKE 
Mr. Atwood's waiting for you ; he's ready to go. 

McCLELLAN 
{Offstage L.) 
All right; just a minute. 

LAKE 
{Laughs as he returns to above desk.) 
I hear the billiard balls ; T guess they're playing a game. 

ATWOOD 

( Turns to Lake.) 

Billiards ! 

{Laughs.) 

He can't run ten points in three hours. I'm going. 

{Starts for R. door.) 



84 THE HOUSE OF GLASS 

McCLELLAN 
{Appears at door L., with billiard cue in his hand.) 
Say, Atwood, come in here and see this little girl play billiards. 
( Atwood starts for L . door. ) 
She's a wizard. 

LAKE 
That's right. 

(Atwood txims toward Lake.) 
We play every night. She beats me too. 

ATWOOD 
Well, we'll have to see how she does it. 
{Crosses to door L. and exits, leaving door ope?!. ) 

McCLELLAN 
{As he sees Carroll. ) 
Hello, Carroll! 

{Goes upstage back of settee L. and comes down to L. of Lake's 
desk. ) 

CARROLL 
[Rises and bows. ) 
Mr. McClellan. 

McCLELLAN 
What's the idea? More crooks discovered in railroad office? 

LAKE 
{Looking at Carrol,!,.) 
I hope it's nothing like that. 

CARROLL 

{Smiles. ) 
Well, hardly. 

McCLELLAN 

Well, whatever it is, I'm in on it. The Police Department is the 
best friend we lawyers have. If there wasn't someone to put them 
in, there wouldn't be anyone for us to get out. Ha! ha! Good 
joke, isn't it? I must tell that to Atwood — he'll laugh himself sick. 

{Exits L., closing door. ) 

LAKE 
{As he sits above desk.) 
You've met McClellan before? 



THE HOUSE OF GLASS 85 

CARROLL 

{Si is R. C.) 
Yes; I knew him when he was in the district attorney's office. 

LAKE 
I see. 

CARROLL 
I didn't want to spill in front of Atwood what I came here to see 
you about, because I know he's been pulling strings to go over your 
head and have this Jackson case pigeon-holed. I suppose you know 
that too. 

LAKE 
That doesn't matter, Carroll. I'm dictator in the New York and 
Great Western offices. My word is law, and as I told you the day of 
the arrest, I'm positively going to press the charge. 

LAKE 

{Looks at memo. ) 

Let me see, the trial is set for this week, isn't it? 

CARROLL 

Day after tomorrow. But the trouble is, Mr. Lake, that the boy 
has jumped his bond. 

LAKE 
Jackson ! 

CARROLL 
Looks that way. We located him in Vancoux'er by telegraph 
this morning. I was always leary of this kid jumping away ever since 
the influence started to work for him, so I began to snoop around and 
get a line on what he was doing, and sure enough I discovered that 
be left New York a week ago. It's five days to Vancouver, so it's a 
cinch he won't be here to stand trial. 

LAKE 
Are you sure about this? 

CARROLL 
Sure as shooting. He's in Vancouver, I tell you, 

LAKE 
( Thinks.) 
Have you notified the surety company that went his bond? 



86 THE HOUSE OF GLASS 

CARROLL 
Humph! You don't suppose they care, do you? They're always 
protected . 

LAKE 
It will take some time to extradite him. 

CARROLL 

Yes, and a lot of red tape with the pull he's got; but. in the 
meantime, if his foot slips on anything that belongs to Uncle Sam, 
we'll get him before he knows it. 

LAKE 
That's too bad. This is one case where I want prosecution. 

CARROLL 

So do L 

{jRises.) 

I just want to show some of these high-falutin' monkeys that go 
around pulling strings for a lot of crooks that it takes more than 
political influence to make a joke out of the laws of this vState. 

(Up to Lake.) 

I want to thank you for the stand you've taken in this case, Mr. 
Lake. I've been getting inside dope on it, and I know how you've 
gone through. If we had a few more men like you in this burg the 
police wouldn't have half as much to worry about, and the community 
would be a whole lot better off. 

LAKE 

You're sure you'll get him later on? 

CARROLL 

You can bank on it. There isn't a headquarters in this countrj- 
that won't have an accurate description of that bird tomorrow 
morning. 

{Sits in chair down R ) 

LAKE 
Vancouver, eh? 

CARROLL ; 

Yes. Have you ever been there? 

LAKE 



•THE HOUSE QF GLASS j^7 

CARROLL 

Well, no regular guy can stay there very long. ■ It's one of those 
•minor league cities where they hang around drug stores. But, 
extradition or no extradition, he'll come back into the States — they 
always do. I've had twenty -two years' experience with bond jumpers 
and parole breakers, Mr. Lake, and I never knew it to fail that they 
didn't take the chance sooner or later and get nailed. 

LAKE 
Well, I want you to get this man if it's the last thing you ever do. 

CARROLL 

It may take a little time, but you can go to sleep on the bet that 
I'm trying all the time. 

{Rises and goes upstage a bit.) 

And there's another thing I want to impress on you, Mr. Lake, 
and that is that there ain't any money proposition from the influence 
behind this kid that will ever make me forget my duty. I'm no 
grafter. I could have been a rich man ten years ago if I wanted to 
double-cross the department and stand for a little rough work, but 
that isn't my way of going along. There's one thing that I'm proud 
of, and that is that I'm on the level. The crooks call me a rat and a 
dog, and a Sunda}-- School copper, and a. few other pet names, but 
they'll tell you that I'm honest. 

/' ' LAKE 

I don't doubt that in the least, Carroll. 

CARROLL 

{R. C.) 

Well, I thought maybe you might think I was in on this kid's 
getawa5^ so I niade up my mind to get to you quick and let you know 
what kind of a guy I am. 

LAKE 
You're a man after my own heart, Carroll. 

CARROLL 
Thanks. 

LAKE 
I wish you'd keep in touch with me and let me know if anything 
develops in the case during the next few days. 



■«8 THE HOUSE OF GLASS 

CARROLL 

{Looks at his watch.) 

Sure. As fast as we get any information at headquarters we'll 
whip it right over to you. 

LAKE 
That's the idea. 

CARROLL 

I wish you'd give me a note to Thompson, head of your detective 
force. 

LAKE 

Certainly. 

{Starts to write when phone rings. He rises and goes doivn R. and 
sits at phone table. ) 

( The Jap enters from R. io a7is'uer phone, and stands doivnstage L. 
of Lake.) 

(Carroll strolls over R. and doivnstage to R. of phone.) 

LAKE 
( In phone. ) 

Yes.... Mr. Atwood? . . . . Yes, he's here. Who wants him?.... 
The what club? . . . .Just hold the wire ; I'll send for him. 
{Lays down receiver and turns to Jap. ) 

Go in the billiard room and tell Mr. Atwood he's wanted on the 
wire. 

JAP 
Yes, sir. 
{Exits L. quickly.) 

LAKE 
( To Carroll, as he smothers the phone.) 

Do you think I should tell Atwood and McClellan that the boy 
has jumped his bond? 

CARROLL 
{X. to R. in from fireplace. ) 

Oh, I suppose you might as well. They'll probably find it out 
to-morrow, anyway. 

ATWOOD 
{Enters from L.) 
Someone for me? 
{Crosses.) 



THE HOUSE OF GI.ASS 89 

LAKE 
iJ^tses.) 
Yes, the Republican Club. 

{(roes u/)sl(Xge C. and irorks to abovi' his desk. ) 

ATWOOD 

{Scats himself at desk and picks up I'ccciver.) 

Hello ! Yes, this is Mr. Atwood All right, put him on. 

( Waits for connection. ) 



McCLELLAN 



{Enters from L.. ) 
Who is it? 



ATWOOD 

( 'lo McClkllan. ) 
The Republican Club. 
{In phone. ) 
Yes, I'm waiting. 

McCLKELAN 
How did they locate yon? 
{Goes upstage L. a bit.) 

ATWOOD 

I left word that I was coming here. 

{In phone. ) 

Hello! 

{Pause.) 

MRS. LAKE 
{Enters hurriedly from L., and goes to'anird McCleLLAN.) 

Oh, Mr. McClellan. why 

(McClellan silences her, pointing toward Atwoou at phone.) 
{As she looks at Atwood she sees Carroll, who is standing dozen- 
stage R. ) 

( The two stand and stare at each other from this moment.) 

ATWOOD 

(/;/ phone. ) 

Yes .... Hello, Maddox . . . .What makes you think he did? .... 
Are you sure about it? ... . Where did you get that information? . . . . 
Oh, you did, eh? Well, wait, hold the wire a second. 

( To Carroll, as he smothers mouth of phone.) 

Have you heard anything about young Jackson jumping his bonds? 

{Qkr'RO'lx, makes no reply.) 



90 THE HOUSE OF GLASS 

LAKE 

{Standing above desk C. ) 

Yes, that's what Carroll came to see me about. 

McCLELLAN 
{UP L. C.) 
Jumped it, eh? What do you think of that! 

ATWOOD 

(In phone. ) 

Where'd he get to, did 5'ou hear? Way out there, eh? 

They are, eh? That's too bad.. ..Yes, I'm coming over there now. 
You wait there for me All right, good-bye. 

(Note. — During this phone conversation, in fact from the time 
Carroll and Mrs. Lake have seen each other, they have never taken 
their eyes from each other. ) 

ATWOOD 

{Rises and goes up K. C.) 

Well, the young man is in British Columbia. 

McCLELLAN 

{Whistles.) 
Some jump ! 

ATWOOD 

{Looks at Carroll.) 

When did you learn this, Carroll? 

CARROLL 

This morning. 

McCLELLAN 

{L. C.) 

Who was that just phoned you? 

ATWOOD 
Young Maddox. He got it from a police reporter. 

LAKE 
( 'Jo Carroll.) 
He must have got the story from headquarters, Carroll. 

CARROLL 
Then there's a leak in the department. I told them not to give it 
out. 



THE HOUSE OF GLASS 91 

McCLELLAN 

Well, Lake, it looks as though this boy were liable to slip away 
from yoit after all. 

CARROLL 

{Doivn R.) 

{Stares at Mrs. Lake duriiig speech .) 

Oh, he'll come back; they all come back. It's one case in a hun- 
dred when they don't. Some play it safer than others, and stay away 
a long time until they think it's forgotten, outlawed, and thrown in the 
discard. But such a thing never happens in the New York police de- 
partment. We never forget. We have ways of remembering — a 
system of identification that's the most perfect in the world. They can 
stay away a year or two, or ten 

{Emphasizes the word ten.) 
but we get them if they ever come back. 

{Looks at his ivatrh and goes upstage to R. of Lake.) 

I've got to get down to the Central office. I've got some pretty 
important work to do on one of my old cases. 

(Lake hands note to Carroi^l.) 

Thank you. 

( Tur7is to Atwood a7td McClellan.) 

Good-bye, Mr. Atwood — Mr. McClellan. 

ATWOOD 
- {Sits R.) 

Good-bye Carroll. 

McCLELLAN 
So long. 
{At this poi7it Mrs. Lake moves vp to L. i^/ Lake.) 

CARROLL 

{Starts for door R.) 

Don't you worry about this thing, Mr. Lake. The case is in ni}' 
hands — ^• 

( Turyis back to R. of l^XK'B..) 

And if I do say so myself, I've been exceptionally lucky with most 

of my cases. 

{Looks at Mrs. Lake.) 

{Botes.) 

Mrs. Lake? 

( To Lake.) 

Your wife? 



92 THE HOUSE OF GLASS 

LAKE 
Oh, yes. 

( To Mrs. Lake.) 
This is Mr. Carroll, dear. 
(Mrs. Lake bows to Carroll.) 

CARROLL 

( Signi{ica7itly . ) 

I'm very pleased to meet yon, Mrs. Lake. 

MRS. LAKE 
Thank you. 

CARROLL 

{Starts for door R., stops and turns to Atwood down R.) 
Oh, I knew there was something I wanted to speak to you about, 
Mr. Atwood. 

ATWOOD 
What's that. 

CARROLL 
I'm glad you took my tip and got rid of that chauffeur you had 
two years ago. I gave orders at headquarters to put you wise to him. 

ATWOOD 

Oh, then it was through you that I got the word? 
(McClKLLAN sits on sola L.) 

CARROLL 

Sure. I sent Crowley to you with his whole record. It's a good 
thing you let him go — he was a bad bird. 

{Tnrns to Lake and McClkllan.) 

Mr. Atwood had an ex -convict driving his car and didn't know 
it. A fellow named Burke, James Burke. Served two or three terms 
in prison. The last time he was sent up was about ten years ago. He 
and a girl pal of his did a house-breaking job, and come pretty near 
getting away with it, but we nabbed them and sent them away for 
three years. He served his time ; but the girl, after being released on 
probation, broke her parole; so we've been after him ever since, 
hounding him out of every job he gets, trying to make him confess to 
the girl's whereabouts. 



THE HOUSE OE GLASS 93 

ATWOOD 

Oh, so that was the idea. 

CARROLL 
Certainly, You can't blame us for trying to get the girl, can you? 

McCLELLAN 

( To Mrs. Lake.) 

That's what they call playing one crook against the other. 

CARROLL 
It's an interesting story, isn't it, Mrs. Lake? 

MRS. LAKE 
Yes, but rather severe methods, I should say. 

CARROLL 
How do you mean? 

MRS. LAKE 
Wh5^ making it impossible for the man to earn a living. 

LAKE 
Don't mind Mrs. Lake, Carroll. She's been doing a lot of prison 
reform work in the West. 

CARROLL 

[Interested. ) 
Oh, is that so? 

McCLELLAN 

( To Mrs. Lake.) 

This is something like the story you told me in Kansas City, Mrs. 
Lake. 

MRS. LAKE 
{Nervously .) 
What was that? 

McCLELLAN 
Don't 3'ou remember about the girl breaking her parole and going 
into hiding? 



94 THE HOUSE OF GLASS 

CARROLL 

{Slight pmise. ) 

Well, maybe it was the same girl. 

( To Mrs. Lake.) 

Was her name Case — Margaret Case? 

MRS. LAKE 

\AHer a slight pause.) 

I didn't know the girl's name. 

LAKE 
Someone you heard of, dear? 

MRS. LAKE 
Yes. 

CARROLL 
( To Mrs. Lake.) 
Did it happen here in New York? 

MRS. LAKE 
No, in the West. 

McCLELLAN 
I thought you told me it was here in New York. 

MRS. LAKE 

{Nervously .) 

Did I? Why, no, you must be mistaken, Mr. McClellan. I'm 
sure it happened in the West. 

(Margaret looks at Carroli..) 

CARROLL 

Oh, then it can't be the same girl. I think we've finally landed 
the one we've been after. 

(Margaret looks at Carroll.) 

It's taken us a long time, but I'm pretty sure we've got her at 
last. 

MRS. LAKE 

{Keeping herself under control . ) 

You mean she's been placed under arrest? 

CARROLL 
Not yet, but she will be as soon as we're convinced that it's not 
a case of mistaken identit5^ 



THE HOUSE OF GLASS 95 

LAKE 
Oh then she came back, did she? 

CARROLL 
Sure Didn't I just tell Vou that thej- all come back? She's 
right here in New York this minute, or else no two people were ever 
born so near alike before. 

MRS. LAKE 
Then you're not sure she's the one you're after? 

CARROLL 

Sure enough to stake my reputation on it. Of course if it were 
an ordinary case we'd make the arrest without giving it second 
thought, but it happens that the woman is married to a very prominent 
man, so we've got to go slow until we're satisfied beyond the shadow 
of a doubt. 

{Sh's^ht pause.) 

It looks like it's going to be a very sensational affair all around, 
and Lm going to have the satisfaction of cleaning up my record, 
because she's the only one that ever got away from me in twenty-two 
years of service. 

ATWOOD 
And this girl was Burke's pal? 

CARROLL 
Yes. It's a small world, isn't it? 

McCLELLAN 

She's married to a prominent man, eh? 

CARROLL 
Yes, you'd be staggered if I told you who he was. It's a cinch 
that he doesn't know he's married to a parole-breaker. He's the only 
one I feel .sorry for in the whole affair. If anything new happens in 
the Jackson case I'll call you up, Mr. Lake. 

LAKE 
I wish you would, Carroll. 

CARROLL 
Good-bye, Mrs. Lake. I hope to have the pleasure of meeting 
you again. 



96 THE HOUSE OF GLASS 

MRS. LAKE 
{Forcing a smile.) 
Thank you, Mr. Carroll. 

CARROLL 

( 1 urns to Atwood and McClellan.) 
Good-bye, gentlemen. 

McCLELLAN AND ATWOOD 
Good-bye. 
(Carroll starts tor door A\) 

LAKE 

(As he follozcs CarrolX.) 

I'll see you to the door, Carroll. 

{Exits R., foUozving Carroll.) 

ATWOOD 
{la McClellan, as he rises.) 
We'd better get along, too. 

McCLELLAN 
{Rises.) 
I think so. 

ATWOOD 

{As he goes upstage R. ) 

I'll come around some evening and play you thirty -four points of 
billiards, Mrs. Lake. 
{Opens door R.) 

MRS. LAKE 
All right, Mr. Atwood. 

McCLELLAN 
{As he goes upstage L., and to above Mrs. Lake.) 
And I'll come around with him and give him a few points. He'll 
need them if he's going to try to get thirty- four. 

ATWOOD 

{Laughs.) 

Bye, bye. Come along Mac. 

{Exits R., leaving door open. ^ 



THE HOUSE OF GLASS 97 

McCLELLAN 
iS^ar/s A'., and then innis back to Mrs. Lakk.) 
\A^hat do Nou think of the boy jumping his bond? 

MRS. LAKE 
I'm not surprised. 

McCLELLAN 
Neither am L To tell you the truth, I rather expected it. Well, 
au revoir. 

{Starts for door R.) 

MRS. LAKE 

Good-bye, Mr. McClellan. 

(McClellan <'.i77,s- A'., closing the door.) 

(Mrs. Lake sta)ids staring towa/d the door. After four or five 
counts she turns and stares into space, facing front. .She finally loses 
control of her linihs, falls into chair above table C, breaks doicn and 
weeps bitterly . .liter a pause, L,.\ke enters.) 

LAKE 
{Enters froni A*., sees her sobbing, a)id rushes quickly to her.) 
Why, what's happened? What's the matter? 

MRS. LAKE 
{Between sobs. ) 
It's nothing, Harve\", nothing at all. 

LAKE 

But something's wrong. Tell me what it is, dear. 

MRS. LAKE 
{Makes no reply, but rises and moves over to sola L.) 
(She shoivs that the struggle she has just passed through has had its 
effect, and is aln/ost lin/p as she falls on the settee.) 

LAKI<: 
{Has been standing icatching her.) 
I know what it is. 
{J\doves over to her. ) 
The story Carroll just told has affected you, hasn't it. 

MRS. LAKE 
Yes. 



98 THE HOUSE OF GLASS 

LAKE 

{Kindly tone.) 

Well, you can't afford to take other people's troubles to heart iti 
this way, dear. You know you always do that, and it always has the 
same effect; makes you miserable. Of course your sympathies are 
with the woman, but after all, dear, it isn't going to do her any good 
nor you any good to make yourself unhappy over an affair in which 
you are entirely disinterested. It's a matter between her and the 
police. Come now, forget all about it. 

{He leans over and pats her shoulder lovingly ^ then sits her on settee. ) 

{She dries her eyes and sits staring in front of her. ) 

{After a short silence, while he ivatches her face. ) 

What are you thinking of now, dear^ 

MRS. LAKE 

{ Without changing her expression. ) 

Of that woman's husband, and what it will mean to him when the 
blow is struck. 

LAKE 
Well, if he's a big man he'll find a way to meet the situation. If 
he's been harboring a criminal, the sooner be finds it out the better. 

MRS. LAKE 
{After a pause. ^ 
You mean he'll be glad to learn the truth? 

LAKE 

If he's been ignorant of the fact that his wife is an ex-convict whj- 
shouldn't he be glad to learn the truth? 

KShe makes no reply.) 

There, come now, let's not discuss the matter any further. It 
means absolutely nothing in our lives, and it's making you terriblj' 
unhappy. Now please. 

( Mrs. Lake rises and crosses to7vard C. .Is she reaches the edge of 
the table she S7vays.) 

(Lakk ^oes quickly to her and steadies her.) 

What's the matter, dear? 

MRS. LAKE 
SEvades him and goes to right hand corner of table and faces him.) 
Oh, I wish to God you could guess, so I wouldn't have to tell you. 



THE HOUSE OF GLASS 99 

LAKE 
Tell me what, dear? 

MRS. LAKE 
( Steadies herself. ) 

That's why I led a hermit's life here in New York. That's why 
I've been afraid of everything, of everyone here. That's why Carroll 
told the story. 

( Wa rn Cu rta hi . ) 

LAKE 
Why, what do you mean, dear? 

MRS. LAKE 

{After a lotig pause.) 

I am that woman. 

{Pause.) 

I am Margaret Case. 

( The only visible effect this has oti Lake is that he statu/s perfectly 
rigid, looking before him without the movement of a muscle or change of 
expression . It seems to stun him. Mrs. Lake waits for some reply. As 
none comes, she looks up, sees the expressio7i 07i his face and ivrings her 
hands in a^o?iy, realizing that his silence is proof ot his suffering.) 

I served one year and a half, and then was put on parole. I broke 
my parole because I was innocent. Do you hear me, Harvey, I was 
innocent. As God is my judge, I was innocent. I went away to for- 
get, and I met you. 

{Pause.) 

I hoped and prayed never to see this city again. 

{Pause.) 

But when you decided to come here, what could I do? No human 
mind can realize the sufferings I've endured. I've fought my fight and 
no one has seen the struggle. I was selfish to allow you to marry me 
in ignorance. I've assailed myself and defended myself a thousand 
times. I loved you, Harvey, and the thought of losing you made a 
coward of me. I couldn't tell you. If I'd lost you there would have 
been nothing left for me in the world. I thought I was away from it 
all; that it was all far behind me. And now, after ten years of silent, 
dogged pursuit, the law is knocking at the door again. God forgive 
me, I've ruined your life. 

{She turns R., with a bitter cry a?id falls in chair /?., above the 
phone desk, sobbing.) 



100 THE HOUSE OF GLASS 

LAKE 
{During the above speech he has stood stone still. He turns and 
looks at her ivithoict any sign of emotion. After staring at her for several 
seconds, he looks front as if studying or rather summing up the entire 
situation. His manner shozvs he is utterly dazed by the suddenness of the 
confession and has not brought himself to believe that tvhat he has just 
heard is the truth. He tUriis and goes to settee Z,., sits and reads the 
carpet for a few moments. He runs his hand dazedly through his hair, 
then rises and moves over to /.. of Mrs. Lakr.) 

LAKE 
What of this man Burke? What were 5^011 to him? 

MRS. LAKE 
We were engaged to be married. 
( Pause. ) 
We had never met nntil two weeks before the arrest. 

LAKE 
He was a crook. Did you know that at the time? 

MRS. LAKE 
{Shakes her head negatively .) 

No. What he had stolen was supposed to have been left to him 
by some member of his famil}'^. 

LAKE 

( Pause. ) 

Your name is Margaret Case? 

{She bows affirmatively .) 

You married me under an assumed name? 

{She 7iods.) 

Then it was no marriage. 

{A long pause, rvhile he sta?ids looking at her. She keeps her head 
bowed on her arms for several seconds. Then, as the full realization of 
his words penetrates, she looks up at hitn startled. ) 

{He crosses slowly to the left hand edge of table and stands with his 
back to the audience. ) 

I can't believe this is true. 

MRS. LAKE 
{She sits watching' him as he goes over L., then finally forces enough 
strength into her body to rise and move upstage to R. of table.). 



THE HOUSE OF GLASS 101 

I'm going away, Harvey. 
{Pause. ) 

If I don't they'll come and take me, and I could never stand that. 
( Pause. ) 

Won't you say something to me before I go? I know I don't 
deserve any consideration at all — 

MRS. LAKE 
(Stretches her arms out to him.) 
— but won't you please say something to me? 

LAKE 

{Stands looking coldly at her tor several seconds, then deliberately 
goes up the stairs C. , and exits at head of same. ) 

(Mrs. Lake stands looking after him, then rushes over to Left 
Portiere on C. door, and stands rcatching Lake as he romes down the 
stairs. ) 

{As Lake enters at head of stairs, he is dressed in overcoat and hat. 
He comes doivn and goes to door R., paying no attention to Mrs. Lake.) 

MRS. LAKE 

[As Lakh gets to R. door, she takes a few steps toivard hi>n 
shrieking. ) 

Harvey, where are you going? 

LAKE 
Police Headquarters, to find Carroll and learn the truth. 
{Exits R.) 

MRS. LAKE 
. Police Headquarters. No, no, I can't go back. 
( Turns front. ) 
I can't go back ! 

{She falls on floor R. of table, sobbing hysterically.) 
{Ad lib. as the curtain falls.) 

CURTAIN 



102 THE HOUSE OF GLASS 

*'The House of Glass" 

ACT IV. 

SCENE: Same as Act III. 

{Bare stage at rise of curtain.^ 

[After curtain is up a few seconds, Lake and McCi,EL,LAN enter 
from R., followed by the Jap, who closes the doot and goes C.) 

LAKE 
Oh, Wada. 

JAP 
Yes, sir. 

LAKE 
Tell Mrs. Lake I'm here. Say that I wish to see her. 

JAP 

Yes, sir. 

{Takes the n/en's coats and hats, puts them in the hall, then goes 
upstairs. ) 

LAKE 
Sit down, Mac. 
{Sits above table: McClellan sits on sofa L.) 

McCLELLAN 
{After a pause.) 
You say you couldn't find Carroll at Police Headquarters. 

LAKE 
No ; they said he hadn't been there since morning. 

McCLELLAN 
What were you going to talk to him about if you had found him. 

LAKE 
Ask him point blank if my wife was the woman he suspected. 

McCLELLAN 
Well, that would have been a fine fool thing to do. You migbt 
as well have gone to him with a full confession. 



THE HOUSE OF GLASS 103 

LAKE 

I didn't know what nij- intentions were, Mac; I don't know yet. 
I can't realize that such a thing can be. 

(Jap enters from stairs up C, conies down, and exits through 
hall^vay toivard R. ) 

McCLELLAN 

{Rises, goes upstage, and crosses back of fable to R. ) 

Did yon tell Mrs. Lake that you were coming to see me? 

LAKE 

No. 

McCLELLAN 

{After a pause.) 

What are you going to do, Lake? 

LAKE 
What do you mean? 

McCLELLAN 
I mean, what stand are 3^on going to take? 

LAKE 

I don't know, Mac. Lm dazed, stunned. 

{Rises and comes dotvn R. of table to C.) 

Of course, the first thing I'll do will be to resign my position 
with the road. It's the only way I can avert bringing disgrace upon 
the men who have befriended me. 

{Moves over toward L., his face half tiirned front.) 

McCLELLAN 
Well, now, don't go rushing headlong into things until we know 
just where we're at. There's a lot of thinking to do, so take it easy. 

MRS. LAKE 

{Enters on stairs and comes slotvly doivn to C. above table. The 
torture she has suffered in the last hour shoivs plainly in her movements. 
She demonstrates this by leaninii and resting after every step until she 
reaches C.) 

{After a pause, she speaks almost in a tvhisper, as she leans against 
the table to support herself. ) 

You — you sent for me? 

{Both men turn and look at her.) 



104 THE HOUSE OF GLASS 

LAKE 
Yes. Mr. McClellaii has agreed to act as 3'our attorney. I have 
told him all you told me. He has come to liear the facts of the case 
from your own lips. 

MRS. LAKE 
{Shakes her head despairingly . ) 
There is nothing more to tell. 
{Turns to xVIcClellan. ) 
You will find a full record of the case at Police Headquarters. 

McCLELLAN 
( lakes a step iozuards her. ) 

Now, come, Mrs. Lake, you must help me if you expect me to 
help you. 

MRS. LAKE 
{Hopelessly. ) 
It's no use. 
iPa?/.^es /or hreaih.) 
I give up the fight. I'm tired. 

( Warn phone R.) 

McCLELLAN 

{R. of table.) 

You can't give up the fight. You were innocenf^. 

MRS. LAKE 
The State said I was guilty. 

McCLELLAN 
But you ivere innocent. 

MRS. LAKE 
{After a pause. ) 
Yes. 

{Looks at Lake over L.) 

I don't expect my husband to believe me. M\ life with him has 
been a lie from the start — a terrible lie. 



THE HOUSE OF GLASS 105 

McCLELLAN 

{Photu- rings. ) 

{Crosses above table to L. C, above Lakp:.) 

Come on, Lake, it's np to you; she can't make the fight alone. 

{Pause.) 

{The telephone rings — no one moves — the phone rings again.) 

{L,AK\\ goes to pho7ie—M.Q.ChVA,h^'^ remains L.) 

LAKE 
{Comes dozen to phone and takes receiver off hook. ) 

Hello! Mrs. Lake? Who wants Mrs. Lake? She's 

here, yes. Who is this? Yes, I'll have Mrs. Lake come to the 

phone if you'll tell me who wishes to talk to her Just say a friend 

of hers? Very well, hold the wire. 

{Turns to Mrs. Lake.) 
Some one for you. 



MRS. LAKE 



{Frightened. 
Who is it? 



LAKE 

He wouldn't say. 

(Mrs. Lake looks at McClellan without making any move 
toward the phone. ) 

McCLELLAN 
See who it is. 
{Motions to her to s.o to phone.) 

MRS. LAKE 
{Goes down to phone table and sits; Lake stands R.) 

Hello Yes. 

{She expresses surprise and fright as she takes the message. ) 

Why, no . . . . No Why, there's — there's a mistake 

No No, of course not Why, just a moment. 

{She looks up at Lake alter smothering phone. ) 

LAKE 
Who is it? 
(Mrs. Lake makes no reply.) 



106 THE HOUSE OF GLASS 

McCLELLAN 
\^Tio is it, Mrs. Lake? 

MRS. LAKE 



Burke. 
Burke ! 

( Comes downstage. ) 
What does he want? 



LAKE 
McCLELLAN 



MRS. LAKE 
He received a message a few minutes ago stating that I wished to 
see him here. 

LAKE 
What does this mean, McClellan? 

McCLELLAN 

It means that Carroll's at work, and that's the way he's working. 
He'll probably trail Burke here and force him to identify her. It's a 
police trick — a trap — that's all. 

{To Mrs. Lake.) 

Tell him to come. 

LAKE 
No, not to this house. 

McCLELLAN 
I know what I'm doing, Lake. I want to get hold of Burke before 
Carroll does. Let me manage this, please. 
{To Mrs. Lake.) 
Go on, tell him to come. 

MRS. LAKE 

{Looks toward Lake, who after a momeuV s hesitation^ ^ives consent 
by nodding his head. In phone.) 

Hello ... Yes .... Yes. I wish you would come here immediately. 
I'll explain when you get here. Do you know where to come? . . .Oh, 

that's so, the address was in the message Yes, I forgot. . . .Yes, 

thank you. 

{Hangs up receiver.) 






THE HOUSE OF GLASS 107 

LAKE 
Does this man know who you are? 

MRS. LAKE 
Yes. 

LAKE 
Then you've seen him since we've been here? 

MRS. LAKE 
No. I saw him in Kansas City when he came there with Mr. 
Atwood. He recognized me and asked to see me. 

LAKE 
And you talked to him? 

MRS. LAKE 
Yes, I thought it best. 

McCLELLAN 
He made a demand for money, I suppose? 

MRS. LAKE 
i/^ues.) 

No. He warned me never to come back to New York ; that 
Carroll would get me if I did. 

(J^ises, and ^oes to above table C.) 
He was right — they've got me. 
{Siti 171 chair above table.) 

McCLELLAN 

[Up to L. of Mrs. h^KU.) 

No, they haven't — not yet, Mrs. Lake. I know enough about the 
Probation Law to know that it was never meant as a weapon of 
oppression. If Mr. Carroll, or anyone else, imagines he's going to 
drag you out of your home and flaunt you as a criminal for the sake of 
advertising the Department he'll find he has a cute little rough and 
tumble legal battle on his hands. I haven't taken a crack at the 
police heads of this town in four or five years, and something seems to 
tell me that I'm just about due. 

{Paces up and down L. angrily on the latter part of above speech.) 

(Lake is over R., watching Mrs. Lake.) 

(Mrs. Lake is sitting at table with her head buried in her arms.) 

{Has been pacing up and down stage L. He now stops L. of Mrs. 
Lake, a7id leans over the table towards her. ) 



108 THE HOUSE OF GLAS^ 

The story you told me in Kansas City that evening was your own. 
(She raises her head and nods ) 
{After a pause. ) 

{Warn bell L.) 

Mrs. Lake, we have a problem before us, and you must not lose 
the courage you've shown through it all until we've fought it out 
every inch of the way. 

MRS. LAKE 

I don't care what happens; my life means nothing to me now. 

{Looks towards Lake.) 

He could never forgive me — now that he knows. 

McCLELLAN 
What does he know? He knows that you are innocent — that you 
are not the sort of woman who could have pursued a life of crime. 
He knows that you are good — that your heart and hands are clean ; 
that w^herever j^ou've been you've inspired respect, and that your one 
chance to replenish your empty life was with a husband's love, and 
that one word might have spoiled it all. He knows why you never 
told him the story until to-day; because he knows the remorseless 
prejudice of the world toward anyone who has served a prison 
sentence. He knows that though your lips were silent, your 
conscience never was. He knows that the home he has given you 
has been kept beautiful and lovely through all the years of your 
married life. He knows that it was to satisfy his ambitions and to 
further his success that you sacrificed your safety in the West and 
came here where the past and future were inseparably linked. There 

is nothing for him to forgive. He 

{Directs rest of speech right at Lake.) 

He should thank God for the chance to stand by and protect such 

a wonderful little woman. 

{After a pause, he crosses over to R. above Lake.) 
Lake, the Jackson boy's mother is very ill. The shock of his 
running awaj- might kill her. If you'll agree not to press the charge 
against him, his friends will bring him back. It might be the means 
of saving the woman's life — 

{A long look passes between Lake and McClellan.) 
There's another angle to it now. Do you get my meaning? 

LAKE 
{A long pause, ivhile he looks at McClellan, until seemingly 
convinced. ) 
Yes. 



THE HOUSE OF GLASS U)9 

McCLELLAN 

( Goes to phone. ) 

The Biltomore, please. 

( Waits for comiection. ) 

I want to speak to Mr. Judsoii Atwood, please. . . .Mr. McClellan 

Hello, Atwood? This is Mac. I've just had another talk 

with Lake on that matter Yes, I finally told him about the party 

interceding for the boy Yes Oh, in strict confidence, of 

course. Tell me, is he in town? Here in New York now, I mean 

He is, eh? Now, listen ; I'm pretty sure that if that party will 

get to Lake personall5^ the whole matter will be arranged very easily 

Well, I dare say he feels that he shouldn't have gone over his 

head That's it exactly. But, listen. I've got Lake in a pretty 

good frame of mind regarding tlie matter, so urge that party to get to 

him as quickly as possible, understand? Yes, that's the idea. 

Goodbye. 

{Hangs up the receiver and rises. ) 

The old boy would rather have got that news than a couple of 
million dollars. 

{The doot bell rings oft R.) 

{After a monienV s thought . ) 

If that should be Burke I'd like to see him alone for a few 
minutes. 

(Mrs. Lake rises and exits upstairs C.) 

(Lake crosses to L.) 

(McClellan ,^oes to door R., then crosses above table and dow?i L. 
to above Lake. ) 

LAKE 

{As he crosses to A. ) 

I don't know what you think of me, McClellan, but I can't seem 
to find myself. My mind won't work, that's all. 

McCLELLAN 
Don't bother about your mind; just get that old heart of yours 
working. 

JAP 

{Enters from R .) 

A gentleman to see Mrs. Lake. 

McCLELLAN 
Show him in. 



110 THE HOUSE OF GLAvSS 

JAP 
Yes, sir. 
{Exits R.) 

McCLELIvAN 
It's Burke all right. 
(Eake exits L.) 

JAP 

{Enters after a pause, foUoived by Burke, to Burke.) 
You wait, please, I'll tell Mrs. Lake you're here. 

McCLELLAN 

Never mind, Maddy, I'll talk to the gentleman. 

JAP 

Yes, sir. 

[Exits in hallivay up C. tmvard R.) 

BURKK 

(S/tozi's surprise and nervousyiess as he sees McClellan.) 
Oh, how do you do, Mr. McClellan? 

McCLELLAN 
{Crosses belozc table to Burke. ) 
Hello, Burke, what are you doing here? 

BURKE 

{Nervously.) 

Why — I — I heard these people were looking for a chauffeur, so I 
— I called to see about the job. 

McCLELLAN 

Oh, that's it, eh? 

BURKE 
Yes. sir. 

McCLELLAN 

{Moves close to Burke and looks him squarely in the eyes.) 

You don't say it right, Burke. 

(Burke makes no teply.) 

(McClellan shoots the iollowing question at him poiiit -blank.) 

Why did you squeal? 



THE HOUSE OF GLASS 111 

BURKE 

{Pauses and thinks.) 
What do yon mean? 

McCLELLAN 
You know what I mean. You've turned stool pigeon, have you? 

BURKE 

{After a pause. ) 
I don't gjet yoti. 

McCLELLAN 
Yes, you do. Carroll sent you here, didn't he? 

BURKE 
{Pause.) 
Why should Carroll send me here? 

McCLELLAN 

For identification purposes. Oh, don't play dead : he told me you 
were working for him. 

BURKE 
He's a liar. 

McCLELLAN 
Well, some one's tipped him. Who else besides you knew? 

BURKE 
{After a pause. ) 
Carroll's been here? 

McCLELLAN 
Yes. 

BURKE 

{After a pau.^e. ) 
Who is he after? 

McCLELLAN 
You know who he's after? 

BURKE 
How should I know? 



112 THE HOUSE OF GLASS 

McCLELLAN 
Let me see the message jou received. • 

(Burke looks at McClellan, but niakrs NO n'ply.) 
Tlie message asking you to come here. 

BURKE 

I don't get you. 

McCLELLAN 
Well then, get this. Carroll has stumbled on to the fact that Mrs. 
Lake is Margaret Case, but he's trying to prove it before he makes the 
arrest. That's why he fooled you into coming here. He laid a trap 
for you, and you fell foi it like a school boy. Do you get nie now? 

BURKE 
No, I don't know what yot: mean. I don't know who Mrs. Lake 
is. I've never seen the lady. As for Margaret Case, she died five 
years ago. Carroll knows that — I told him all about it. 

McCLELLAN 
You still imagine I'm trying to double-cross yon. Well, Ull prove 
to you that Em not. 

( Goes upstage C . , and touches buzzer. ) 
You think I'm in with Carroll, don't you? 
( Crosses above table and comes dotvnstage L . ) 

BURKE 
In with Carroll ! 
( Pause. ) 
No, I wouldn't accuse a cur of that. 

JAP 

{Enters from halhvay up C.) 
Vou ring, sir? 

McCLELLAN 
Yes. Ask Mrs. Lake to step here, please. 

JAP 

Yes, sir. 

{Exits upstairs C.) 

BURKE 

{At first is undecided, then shozvs ex t rone nervotisness , and tinally 
starts for the door. ) 

Well, I'll go along. 



{ 



THE HOUSE OF GLASS ll"3 

McCLELLAN ■ r"- :■; 

NTo, wait, Bnrke, you might be of some little help. I wouldn't 
run away if I were you. 

(Burke siops short; McClellan crosses below table to R.) 

Besides, you'll only bump into Carroll when you hit the sidewalk. 
It's a cinch he's trailed yoii, or had yon trailed. You know how they 
work as well as I do. 

(Burke looks searchingly at McClellan; then crosses stage and 
peers out of window upstage L., then cojnes to L. of table as Mrs. Lake 
enters.) 

(Mrs. Lake enters from upstairs, a?id comes slowly down to above 
fable C. ) 

( The Jap follows her downstairs and exits through hallway toward 

k.) 

McCLELLAN 

{Up R.) 

Mrs. Lake, Mr. Burke is evidently under the impression that I'm, 
in league with the police. Will you please assure him that I'm not. 

MRS. LAKE 
{Without looki?ig at BuEKE.) 
Mr. McClellan is doing all he can to assist me. 

BURKE 

{After a long Pause.) v.: : ". 

You don't mean that they've — they've really got you? • '-. 

(Mrs. Lake ?iods.) 

{'BxjB.K'E sways, then steadies himself.) 

Oh, I'm sorr5\ 

( PVith a real tear in his voice.) 

God, how sorry 1 am ! 

(Lake enters from /..) 

Mr. McClellan, isn't there some way to stop this persecution? 
She was no more guilty than you are. They found a ring on her — 
part of the loot I stole — that's why they sent her away. Why, she' 
thought I was the soul of honor. The blow of the arrest left her 
without strength enough to tell her own story. She sat like a marble 
statue all through the trial and never uttered a word in her own 
defense. She refused to be represented by counsel of any kind, never 
asked a question or answered one during the whole proceedings — just 
sat and stared without the wink of an eye. I begged her to take the 
stand and tell the truth, but she didn't even seem to hear me, just sat 



114 



THE HOUSE OF GLASS 



and stared. It's God's truth. 1 thought she'd gone mad. No mart 
ever made a more bitter fight for a human being than I did, trying to 
save that girl. I pleaded, and got down on my knees and swore on 
my mother's soul that she was innocent, but they dragged me from the 
court and threw me back into the Tombs and told me my word was no 
good. I was a crook. That's one thing the police will never let a 
man live down. They've hounded me out of ever5- chance I've had 
to earn an honest dollar for the last seven years. But I've been 
straight as a die, because I made up my mind that they'd never take 
me again, unless it was for murder — and that's what they'll take me 
for, if Carroll tries to take her. 

{Points to Mrs. Lake on the last live, then whirls L. and sees 
Lake, who, throughout the speech, has been standing downstage L. The 
two stand stari7ig at each other for a few moments, Mrs. Lake and 
McClellan also holding the picture.) 

{After a long pause, the door bell rings off R.) 

(Jap enters from hallway 7ip R. Is about to exit, when McClellan 
calls to him.) 

McCLELLAN 
{To the 5kv.) 
If that is Mr. Carroll show him right in. 



JAP 



Yes, sir. 
{Exits R. 



McCLELLAN 
{Goes upstage to C. door and calls to BuRKE.) 
Wait in here, Burke, in case it's he. I want to hear what he has 

to say before he sees you. 

(Burke ^(7^.y upstage, and exits C. toward R.) 
(McClel^.an turns to Mrs. Lake, who is still above table.) 
Keep your nerves together, little woman ! He can't arrest you in 

your own home ; that's one point of law in our favor. 

CARROLL 
{Enters from R., stops short as he sees McClELLAN, and bows.) 
Mr. McClellan. 



Hello, Carroll. 



McCLELLAN 



THE HOUSE OF GLASS 115 

CARROLL 

(Crosses above fable to Lake, 7vho is L. ) 

I didn't mean to intrude, Mr. Lake. I thought maybe I'd catch 
you alone. There are one or two things in the Jackson case I forgot 
to take up with you when I was liere today. I thought I'd better get 
to you quick, so I could go to work on it tomorrow morning. 



LAKE 



( Coldly. ) 

All right, Carroll. 



CARROLL 

{Hesitates as he looks towards Mrs. Lake and McClehan.) 
If Mrs. Lake and Mr. McClellan will excuse us for a few minutes, 
why 

McCLELLAN 

[Interrupts. ) 

Come on, Carroll, say what's in your mind ; we're all waiting to 
hear it. It wasn't the Jackson case that brought you back. Come on, 
what was it? 

CARROLL 
{Pajises.) 
I'd much rather talk to you alone, Mr. Lake. 

LAKE 
I've no objections to their hearing whatever you have to say. 

CARROLL 

{After a pause. ) 

All right, if that's the way you feel about it, but I'm afraid it's 
going to be a little embarrassing for all concerned. 

{Paiises.) 

Mr. Lake, I've a duty to perform. I'm hunting for an escaped 
criminal. I've good reason to believe that she's in this house. I 
needn't remind you of the importance of upholding the law. This 
being your home, it becomes your duty to help me. If you refuse, 
there is only one alternative — that is, to place this person under arrest 
the first time she appears on the street. 

LAKE 
A criminal in this house, you say? 



116 THE HOUSE OF GLASS 

CARROLL 
I think so. 

LAKE 
Whom do yoii accuse? 

CARROLL 
{Hesitaies.) 

That's rather a delicate question to answer, Mr. Lake. That's 
why I asked to see you alone. 

LAKE 

^ After a slight pause.) 

Go on; I see no necessity for a private interview. 

CARROLL 
All right, that's up to you. I haven't any right in this house, and 
if you order me out I'll go without a word of protest, but I thought 
you'd prefer to have things happen right heie rather than at Police 
Headquarters. 

McCLELLAN 
Who is it you're after, Carroll? Come on, let's have it. 

CARROLL 
Margaret Case. 

McCLELLAN 
The woman you told us of lo- day? 

CARROLL 
Yes. 

McCLELLAN 
Why should j'ou associate her with anyone here? 

CARROLL 
I have several reasons, Mr. McClellan. One of them is that this 
•man Burke, that she was convicted with, is hidden somewhere in this 
house, right now'. . - - . 

McCLELLAN . . . .; 

{Pause.) 

I dare say you know what a" mistake of this kind will mean to the 
man who makes it. ■'-- ■ - -— - ~ ■ ■:-::::.":-- ■' 






THE HOUSE OF GLASS 117 

CARROLL 

I'll take the chance. If I have made a mistake it's the last one 
I'll ever make. I'll stand ready to apolog^ize and resign from the 
department — that's how snre I am. 

( Turns to Lake, after a slight pause.) 

Have I 5'our permission to ask your wife one or two questions? 

LAKE 

{Pause.) 
Go on. 

CARROLL 

{Goes up to Mrs. Lake.) 

Mrs. Lake, what was your occupation before you were married? 

MRS. LAKE 

{After a pause, slowly, and with evident effort.) 
I was a stenographer. 

CARROLL 
Thank you. 

( Takes a photograph from his pocket and goes to Lake. ) 
This is a gallery portrait of Margaret Case taken ten years ago. I 
think you'll see a striking resemblance. 
{Extends the photo to Lake.) 
Do you care to look at it, Mr. Lake? 

LAKE 

{Coldly.) 

No, . 

CARROLL 

{After a slight pause, he turns to Mrs. Lake a7id extends the photo 

to her.)- 

Mrs. Lake? 

{She shakes her head negatively .) 
, Well, then, perhaps Mr. McClellan would like to— 
{Starts aiound table toward McClELLAN. ) 

; •• -■ McCLELLAN 

\ cloti't care to see it, Carroll; I'm not interested. - - . - 



118 THE HOUSE OF GLASvS 

CARROIX 

(Sta7ids looking ni the three, theyi crosses ohove fable and conies doivv 
L. to above Lake. ) 

The description is on the back; perhaps that will interest you. 

( Turns photo over and reads. ) 

" Name, Margaret Case. Age, nineteen. Height, five feet four 
and a half inches. Hair, brown. Eyes, blue. Complexion, fair. 
Occupation, stenographer." 

(Stands looking from one to the other.) 

McCLELLAN 
A description of that kind might fit a million women. 

CARROLL 
That's true, Mr. McClellan ; but I think you'll bear me out when 
I say that there is one form of identification that never misses fire — 
finger prints. Mrs. Lake, merely to settle this question one way or 
the other, would you object if I asked for an impression of your finger 
tips? 

McCLELLAN 

{Coldly.) 

See here, Carroll, do you mean to accuse Mrs. Lake of being the 
woman you're after? 

CARROLL 

{Takes McClellan's cold tone.) 
No; I want her to prove she's not. 
{Pause.) 

I have a set of Margaret Case's finger prints in my pocket. We 
can take an impression of Mrs. Lake's in two minutes if she agrees. 

McCLELLAN 
Well, she's not going to agree to such a humiliating thing. 

CARROLL 
I want to avoid publicity in this case if it's a possible thing to do. 
I'm as sorry for the whole affair as any man in my position has a 
right to be. The arrest of Mrs. Harvey Lake will probably back the 
war news off the front page, but that's not what I want. Margaret 
Case is the woman I'm after, and I'm willing to do the thing nice and 



THE HOUSE OF GLASS 119 

(^uiet, without anj' sensationalism at all, and unless you make it too 
hard for me, that's the way it's going to be done. 

{^Slight pause.) 

Mr. Lake, I'm going to ask you a fair question. Is Burke in this 
house or not? 

(Lake makes 710 reply. ) 

(Carroll looks from one to the other., then goes upstage C, slowly 
slips his revolver from his hip pocket afid shoots toward the floor.) 

(Lake and McClellan start at the explosion. Mrs. Lake 
screams and rises from her chair terrified. ) 

(.4.y Carroll fires, Burke rushes out from up C. to upstage L.; 
as he looks R. and sees Carroll, he realizes that the shot 7&/as a trick, 
and stands dead still. ) 

(Carroll p7its his gun in his pocket and stands smiling at 
Burke.) 

I thought that would fetch you. 

McCLELLAN 
ihidignantly.) 
Carroll, this is an outrage! 

CARROLL 

(Ignores McClELLAN atid directs line at LAKE. ) 
I apologize. Mr. Lake. It went off by mistake.. 
{As he crosses to above Burke, L. C.) 
Well, this is a surprise. What brings you here? 
(Burke makes no reply.) 

Burke, I'd advise you to answer my questions, and answer them 
truthfully. 

{Points to Mrs. Lake J 
Who is this lady? 



BURKE 



I don't know. 



CARROLL 
You've never seen her before? 

BURKE 

Never. 

CARROLL 

( lakes photo from pocket and holds it out to Burke. 
Then perhaps you'll tell me who this is? 



t20 THE HOUSE OF GLASS 

BURKE 
( Jakes photo and looks at it.) 
r don't know. 

CARROLL 

The name and descriptions are on the back. 

BURKE 
Well, then read it yourself and find out who it is. 
(Hands photo back to CarroLL-) 

CARROLL 

[As he takes the photo and puts it in his pocket. ) 
That kind of stuff won't get you anything with me, Burke. You 
better keep a civil tongue in your head. 

BURKE 
Why? You've got no right to grill me. You haven't got 
anything on me. You haven't been able to get anything on me for 
the last seven years, though God knows you've tried hard enough. 

CARROLL 

[Smiles.) 

Well, I've got something on you now that will send you away for 
a longer term than you served the last time. 

BURKE 
What do you mean? 

CARROLL 

Blackmail. I've got you dead to rights, Burke. You've been 
blackmailing Mrs. Lake ever since you found out who she was. 

{Uses third decree speed 7vith this to bring a qjiick anstver from 
Burke.) 

BURKE 
( 7 urns iurioiisly on CARROLL.) 
You lie! You dirt}', yellow dog, you lie! 
{As Carroll smiles, Burke realizes the trick.) 

CARROLL 
{Backs azvay , smili7ig.) 
I thought I'd get a rise out of you, 



THE HOUSE OF GLASS 121 

LAKE 

(Sternly. ) 

I must ask you two men to leave vay house. 

(Burke slinks away and starts for door R. , passing -below table C. ) 

(Carroll stands looking down at Lake.) 

McCLELLAN 

Wait a minute, Burke. 
(Burke stops short, over R. ) 

CARROLL 

Yes, I wouldn't act hastily if I were you, Mr. Lake. The press 
isn't represented here — it is at headquarters. 

LAKE 
It makes no difference. I won't submit to such outrageous methods 
in my own home. It's got to stop right now. 

CARROLL 

All right, you can hand it to the public if you want to; I was 
only trying to make it easy for you. 

MRS. LAKE 

( Rises y and cries out despairingly . ) 

Oh, I can't, I won't stand it any longer! I'm the woman you're 
after, Carroll. I'm Margaret Case. For God's sake, take me away 
and end it all. 

BURKE 

[Crosses quickly above table and conies dojcn to L. ot Mrs. Lake 
and just above CARROLL.) 

Don't believe her, Carroll. She doesn't know what she's saying. 
I tell you Margaret Case died five years ago. 

CARROLL 
( With a sn/ile, shoiring that he admires the mail's loyalty.) 
All right, Burke. I've got to hand it to you— you certainly do 
go through. You won't believe it, but I'm going to tell you just the 
same; you're all right with me, even though you did call me a yellow 
dog. 

{X. up Burke up C.) 



XZi TUt HOUSE OF GLASS 

McCLELLAN 

{To Carroll.) 

Carroll, I suppose 5^011 know this means ruin and disgrace for 
them both. 

CARROLL 

(Moves above table to R., and above McClellAN.) 

I'm sorr3^ Mr. McClellan. It's a rotten job I've got, but I must 
do my duty. Between the satisfaction of cleaning up my record and 
a lump in my throat, I've been battling with myself for the past two 
hours. I didn't even make a report on it, not even to the Chief 
himself. That's how the whole thing has affected me. I'm not trying 
to grandstand b}' telling you this stuff, but now that it's all over I do 
want you to know that I'm human, even if I am a copper. I'm not 
going to make any spectacular arrest. Mrs. Harvey Lake need never 
be known in the affair at all. I only ask that Margaret Case report to 
me at headquarters within the next twenty-four hours, but I want 
your word on it. Is that fair enough? 

McCLELLAN 
Twenty -four hours. 
{Crosses L. to Burke.) 

Burke, come in here for a few minutes, will you. I want to talk 
to you. 

{He and Burke exit L.) 

{'Lh.K.n goes upstage to L. of Mrs. Lake.) 

(Carroll stands looking at the Lakes a moment, then starts R.) 

LAKE 
Just a minute, Carroll. 

(Carroll comes to R. of table, opposite Lake.) 
Carroll, what's your price? 

CARROLL 
My price? 

LAKE 
Yes, the price of j^our silence. I'll give you a check for whatever 
amount you name. 

CARROLL 
They don't write them big enough to buy me, Mr. Lake. As a 
rule it makes me sore when a man tries to bribe me. but somehow or 
other I'm sort of glad you made the proposition. It just kind of 
satisfies me that you feel the way you ought to feel. 



THE HOUSE OF GLASS 123 

MRS. LAKE 
It's useless to try an}' further. Margaret Case will report at 
Police Headquarters in twenty -four hours. 

LAKE 
No, no, no ! 

MRS. LAKE 

Yes. 

(Rises and exits upstage C. toward L. ) 

LAKE 
Good God ! Carroll, there must be some way. 

CARROLL 

{R. of table; Lake L. of table.) 

I'm sorry, Mr. Lake. I've got to stick on my job and be a real 
cop until the arrest is made. After that you can call on me to go 
through any way you want. 

JAP 

{Enters from R. and annot/nces.) 

Mr. Atwood. 

{He doses the door and exits upstage C, after Atwood and the 
Governor have entered. ) 

ATWOOD 
{Enters from R., followed by the Governor.) 
Hello, Lake. 

LAKE 
{Comes downstage L. to belotv table C.) 
Hello, Mr. Atwood. 

ATWOOD 
Governor Patterson, Mr. Harvey Lake. 

LAKE 

{Moves C, to the Governor, and shakes hands with him.) 
This is an honor, Governor. 

GOVERNOR 
Thank you. It's a great pleasure, Mr. Lake. 

LAKE 
Won't you be seated? 



124 THE HOUSE OF GLASS 

GOVERNOR 

Yes, thanks. 

{Moves up R. of table to above it. ^ 

(Lake moves up L. of table to L. of Governor.) 

ATWOOD 

{Sees Carroh.) 

Hello, Carroll. I'm glad you're here. 



CARROLL 



Mr. Atwood. 



ATWOOD 

{R.) 

This is Detective Carroll, Governor, the man who made the 
arrest. 

GOVERNOR 

Oh, how do you do, Carroll? 
{Seats himself above table.) 

CARROLL 

{Embarrassed. ) 
Governor. 

LAKE 
Sit down, Carroll. 

(Carroll sits on sofa L., downstage e?id.) 
(Lake sits L. of the Governor up L.) 
(Atwood sits over R., above phone desk.) 

GOVERNOR 

Mr. Lake, Mr. Carroll, I must ask you both to treat in strictest 
confidence the fact that I have interested myself in this case. For 
reasons, political and otherwise, I prefer not to be known in the matter 
at all. Suffice it to say that this boy's parents are very decent people 
and have been intimate friends of mine for years. For this reason, 
more than any other, I don't wish to be mentioned in connection with 
any influence that is brought forward in the boy's favor. 

LAKE 
( 7o Carroll. ) 
The Governor refers to the Jackson case. 



THE HOUSE OF GLASS 125 

CARROLL 
I knew there was big influence somewhere, Governor, but I 
didn't know it was up so high. 

GOVERNOR 
It'-s a first offense. He's a mere boy, and his mother must be 
considered. I have come to you to ask you as a personal favor tome, 
Mr. Lake, to agree not to press the charge, so that the lad may return 
to his home and his people. 

LAKE 

All right. Governor, you have my word for it. 1 will not press 
the charge. 

GOVERNOR 
Thank yovi. 

ATWOOD 

I said that a word from you would end it all, Governor. 

McCLELLAN 

{Enters from L.) 

Oh, I beg your pardon. 

{Bows to the Governor.) 

Governor. 

(McClELLAN moves up back of sofa to head of it. ) 



GOVERNOR 



Mr. McClellan. 
{Bows.) 



LAKE 

{Rises.) 

I am going to ask a favor of you, Governor. There is another 
case which has come to my notice during the past few hours which I 
am sure is worthy of consideration; the case of a girl convicted, 
sentenced, and released on probation. She broke her parole, and now, 
after eight years, she is back here in the State of New York and ready 
to surrender herself to the authorities. I won't bore you with a 
detailed account of the case, but I happen to know that she has led an 
absolutely good life, and that while the circumstances were against her 
-in the trial of ten years ago, there is no doubt in my mind that the 
girl was absolutely innocent. 



126 THE HOUSE OF GLASS 

GOVERNOR 

What was the girl's name? 

LAKE 
Margaret Case. 

GOVERNOR 
She has never applied for executive clemency? 

LAKE 

Never. 

GOVERNOR 

Any other conviction besides the one you speak of? 

LAKE 
No, a first offense. 

GOVERNOR 
Who recommends the pardon? 

LAKE 
I do. 

GOVERNOR 
Bring this girl to me to-morrow morning, along with the facts of 
the case, and T will see that the application is favorably acted upon. 
(J^ises. ) 

LAKE 
Thank you, Governor. 

McCLELLAN 

{Moves slightly towards the Governor.) 

It will be the biggest thing you ever did, Governor. If there eve 
was a deserving case, this is it. 

GOVERNOR 

I'm only too happy to return the favor to Mr. Lake, and 
especially glad that the case is one so well recommended. 

ATWOOD 

(Rises.) 

Well, I don't know the girl, but I'd like to sign that application 
myself. . . -. ..: " .':.:_ 



THE HOUSE OF GtASS 127 

( Goes C. ) 

Lake, I want the Governor to meet your wife. 

LAKE 
Why, yes, of course; just a moment. 
iSiaris up C) 

McCLELLAN 
iSiops Lake.) 

Oh, Lake, Mrs. Lake is resting, 5'ou know. She asked not to be 
disturbed. 

( Warns Lake -icith a look.) 

LAKE 
Oh, of course, I forgot. Some other time. Governor. 

ATWOOD 
Oh, I'm so sorr\-. 

GOVERNOR 
We must hurry along, Atwood. Goodbj^e, Lake. 
{h.TVfOOTt ^oes upstage R.) 

LAKE 
{Shakes kauals ici'th the Governor.) 
Governor. To-morrow morning — at what time? 

GOVERNOR 

Say, nine o'clock. 

LAKE 
Right. 

GOVERNOR 

( To the others. ) 
Goodbye, gentlemen. 
[Starts R.) 

McCLELLAN AND CARROLL 
Goodbye, Governor. 

ATWOOD 
{up R. C.) 
I'm dining with the Governor, xMac. 

McCLELLAN 
{Over L.) 
I'm going to stay here. 



iU THE HOUSE OF GLASS 

CARROLL 
Goodbye, Mr. Atwood. 
(Atwood, the Governor and Lake exit /?.) 

McCLELLAN 
Carroll, we've still got twenty-four hours. 

CARROLL 

I'm clean. I did my duty. 
(Points to room L.) 
Is Burke in there? 

McCLELLAN 
Yes. 

CARROLL 

I want to talk to that bird. 
{Exits L.) 

(Mrs. Lake enters from upstage C. She stops and looks at 
McClELLAN, then comes down to him with otUstj'etched hands.) 

McCLELLAN 

( lakes her hands. ) 
You heard ? 

MRS. LAKE 
Everything. You've been so wonderful— so big. 

McCLELLAN 
Big! Now don't get personal ; I'm exercising ever}' morning. 
{Laughs.) 

(Lake enters and comes to C, holding out his arms to Mrs. Lake. 
She goes to hijn .) 

McCLELLAN 
{As Lake enters he comes dotvn L., opens L. door and laughs.) 
Can you beat that? Carroll and Burke are plaj'ing a game of 
billiards. 

{Laughs.) 

(Mr. and Mrs. Lake are upstage C, clasped in each other' s arms.) 

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